AI-Generated Bible Art

All these images were generated by DALL·E 2, an AI that converts text to images. Hover your mouse over the image to see the prompt that generated it, and click to see a full-size version. These images mostly reflect stories from Genesis and Luke; my purpose is to explore a wide variety of genres and styles in these stories. These images are available under a CC-BY license, so please feel free to use them as long as you attribute them. Blog post about this page.

images

God said, "Let there be light," and there was light from Genesis 1. Abstract painting
Let there be light (Gen 1:3–5)
God said, "Let there be light," and there was light from Genesis 1. Abstract painting
Let there be light (Gen 1:3–5)
God said, “Let there be a vault between the waters to separate water from water.” So God made the vault and separated the water under the vault from the water above it. And it was so. God called the vault “sky.” Oil painting
Let there be a vault between the waters (Gen 1:6–8)
God said, “Let the water under the sky be gathered to one place, and let dry ground appear.” Realistic oil painting
Let dry ground appear (Gen 1:9–10)
God said, “Let the water under the sky be gathered to one place, and let dry ground appear.” Realistic oil painting
Let dry ground appear (Gen 1:9–10)
God said, “Let the water under the sky be gathered to one place, and let dry ground appear.” Realistic oil painting
Let dry ground appear (Gen 1:9–10)
God said, “Let the land produce vegetation: seed-bearing plants and trees on the land that bear fruit with seed in it, according to their various kinds.” And it was so. The land produced vegetation: plants bearing seed according to their kinds and trees bearing fruit with seed in it according to their kinds. And God saw that it was good. Acrylic painting
Let the land produce vegetation (Gen 1:11–13)
God said, “Let the land produce vegetation: seed-bearing plants and trees on the land that bear fruit with seed in it, according to their various kinds.” And it was so. The land produced vegetation: plants bearing seed according to their kinds and trees bearing fruit with seed in it according to their kinds. And God saw that it was good. Acrylic painting
Let the land produce vegetation (Gen 1:11–13)
God said, “Let the land produce vegetation: seed-bearing plants and trees on the land that bear fruit with seed in it, according to their various kinds.” And it was so. The land produced vegetation: plants bearing seed according to their kinds and trees bearing fruit with seed in it according to their kinds. And God saw that it was good. Acrylic painting
Let the land produce vegetation (Gen 1:11–13)
God made two great lights—the greater light to govern the day and the lesser light to govern the night. He also made the stars. God set them in the vault of the sky to give light on the earth, to govern the day and the night, and to separate light from darkness. Abstract oil painting
God made two great lights (Gen 1:14–19)
God made two great lights—the greater light to govern the day and the lesser light to govern the night. He also made the stars. God set them in the vault of the sky to give light on the earth, to govern the day and the night, and to separate light from darkness. Abstract oil painting
God made two great lights (Gen 1:14–19)
God made two great lights—the greater light to govern the day and the lesser light to govern the night. He also made the stars. God set them in the vault of the sky to give light on the earth, to govern the day and the night, and to separate light from darkness. Abstract oil painting
God made two great lights (Gen 1:14–19)
Wide angle photo of birds flying above the ocean and fish visible in the ocean, with the camera placed at the waterline. Dramatic lighting.
Creating the fish in the sea (Gen 1:20–23)
Oil painting from the perspective of a drone overlooking a multitude of different kinds of animals in with water, grasslands, and mountains. Many flocks of sheep and cows are visible.
Let the land produce living creatures according to their kinds (Gen 1:24–25)
Oil painting from the perspective of a drone overlooking a multitude of different kinds of animals in with water, grasslands, and mountains. Many flocks of sheep and cows are visible.
Let the land produce living creatures according to their kinds (Gen 1:24–25)
Oil painting from the perspective of a drone overlooking a multitude of different kinds of animals in with water, grasslands, and mountains. Many flocks of sheep and cows are visible.
Let the land produce living creatures according to their kinds (Gen 1:24–25)
Oil painting from the perspective of a drone overlooking a multitude of different kinds of animals in with water, grasslands, and mountains. Many flocks of sheep and cows are visible.
Let the land produce living creatures according to their kinds (Gen 1:24–25)
The natural world is in perfect harmony after the creation of the world, with some animals resting. Oil painting.
God rested on the seventh day (Gen 2:1–3)
The natural world is in perfect harmony after the creation of the world, with some animals resting. Oil painting.
God rested on the seventh day (Gen 2:1–3)
The natural world is in perfect harmony after the creation of the world, with some animals resting. Oil painting.
God rested on the seventh day (Gen 2:1–3)
Adam rising up out of the dust of the ground looking out on a forest. Dramatic lighting, oil painting in the style of the Hudson Valley.
Creation of Adam (Gen 2:7)
Adam rising up out of the dust of the ground looking out on a forest. Dramatic lighting, oil painting in the style of the Hudson Valley.
Creation of Adam (Gen 2:7)
Adam rising up out of the dust of the ground looking out on a forest. Dramatic lighting, oil painting in the style of the Hudson Valley.
Creation of Adam (Gen 2:7)
A wide variety of animals lining up in front of Adam. Adam sits on a rock, looking at the many animals. Pastel drawing.
Adam names the animals (Gen 2:19–20)
The creation of Eve, who is rising up out of a sleeping Adam with trees in the background. Adam and Eve are both obscured by foliage. Abstract patinting
Creation of Eve (Gen 2:21–25)
The creation of Eve, who is rising up out of a sleeping Adam with trees in the background. Adam and Eve are both obscured by foliage. Abstract patinting
Creation of Eve (Gen 2:21–25)
The expulsion from Eden, with Adam and Eve fleeing the Garden of Eden and angel with a flaming sword behind them. Oil painting
Expulsion from Eden (Gen 3:23–24)
The expulsion from Eden, with Adam and Eve fleeing the Garden of Eden and angel with a flaming sword behind them. Oil painting
Expulsion from Eden (Gen 3:23–24)
The Breath of Life, 2020, sculpture. A metaphor for the Holy Spirit as the breath of life, this sculpture features a gentle breeze blowing through a field of flowers.
Expulsion from Eden (Gen 3:23–24)
The Life of God, 2021, digital painting. A bright and colorful painting depicting an unseen God as the source of life, surrounded by living things.
The Fall (Gen 3)
Painting in the style of Jackson Pollock depicting a chaotic scene full of bright colors and sharp lines, representing a family tree of misfits.
Family of Cain (Gen 4:17–24)
Painting in the style of Jackson Pollock depicting a chaotic scene full of bright colors and sharp lines, representing a family tree of misfits.
Family of Cain (Gen 4:17–24)
Bright and colorful painting with an abstract family tree, where each family member is represented by a different color and pattern. Acrylic painting in the style of Wassily Kandinsky
Descendants of Adam (Gen 5)
Bright and colorful painting with an abstract family tree, where each family member is represented by a different color and pattern. Acrylic painting in the style of Wassily Kandinsky
Descendants of Adam (Gen 5)
Bright and colorful painting with an abstract family tree, where each family member is represented by a different color and pattern. Acrylic painting in the style of Wassily Kandinsky
Descendants of Adam (Gen 5)
Bright and colorful painting with an abstract family tree, where each family member is represented by a different color and pattern. Acrylic painting in the style of Wassily Kandinsky
Descendants of Adam (Gen 5)
Very wide aerial shot of Noah building a huge ark out of wood, with crowds of people laughing at him and animals around, bright sky. Oil painting
Building Noah's ark (Gen 6:14–22)
Very wide aerial shot of Noah building a huge ark out of wood, with crowds of people laughing at him and animals around, bright sky. Oil painting
Building Noah's ark (Gen 6:14–22)
Many pairs of different animals gathered outside a huge Noah's ark on a sunny day, with Noah looking at the animals. Aerial drone view.
Animals in Noah's ark (Gen 7:8–9)
Many pairs of different animals gathered outside a huge Noah's ark on a sunny day, with Noah looking at the animals. Aerial drone view.
Animals in Noah's ark (Gen 7:8–9)
God destroying the world with a flood, rain and lightning, with Noah's ark in the distance floating on the waters. Oil painting in the style of Théodore Géricault
Noah's flood (Gen 7:17–24)
God destroying the world with a flood, rain and lightning, with Noah's ark in the distance floating on the waters. Oil painting in the style of Théodore Géricault
Noah's flood (Gen 7:17–24)
Noah and herds of animals leaving a huge boat on top of a mountain, with waters in the distance. Oil painting in the style of Thomas Cole.
After the flood (Gen 8:19)
A rainbow appears above Noah's ark, a huge rectangular boat. Pastel drawing.
Sign of the rainbow (Gen 9:12–13)
A rainbow appears above Noah's ark (a huge rectangular boat), which is sitting on a mountain. Wide-angle shot looking up at the ark and a mountain. Landscape oil painting.
Sign of the rainbow (Gen 9:12–13)
A rainbow appears above Noah's ark (a huge rectangular boat), which is sitting on a mountain. Wide-angle shot looking up at the ark and a mountain. Landscape oil painting.
Sign of the rainbow (Gen 9:12–13)
A rainbow appears above Noah's ark (a huge rectangular boat), which is sitting on a mountain. Wide-angle shot looking up at the ark and a mountain. Landscape oil painting.
Sign of the rainbow (Gen 9:12–13)
A rainbow appears above Noah's ark (a huge rectangular boat), which is sitting on a mountain. Wide-angle shot looking up at the ark and a mountain. Landscape oil painting.
Sign of the rainbow (Gen 9:12–13)
A rainbow appears above Noah's ark (a huge rectangular boat), which is sitting on a mountain. Wide-angle shot looking up at the ark and a mountain. Landscape oil painting.
Sign of the rainbow (Gen 9:12–13)
Noah the patriarch planting a vineyard of grapes and dancing in it while drunk. Oil painting.
Noah getting drunk in his vineyard (Gen 9:20–21)
Noah the patriarch planting a vineyard of grapes and dancing in it while drunk. Oil painting.
Noah getting drunk in his vineyard (Gen 9:20–21)
Noah the patriarch planting a vineyard of grapes and dancing in it while drunk. Oil painting.
Noah getting drunk in his vineyard (Gen 9:20–21)
Noah the patriarch planting a vineyard of grapes and dancing in it while drunk. Oil painting.
Noah getting drunk in his vineyard (Gen 9:20–21)
A family tree made of glass, with the different colors representing different family members. The tree is spreading across the globe. Inspired by Dale Chihuly
Descendants of Noah (Gen 10)
A family tree made of glass, with the different colors representing different family members. The tree is spreading across the globe. Inspired by Dale Chihuly
Descendants of Noah (Gen 10)
The tower of Babel, a ziggurat that stretches into the sky, Babylonian architecture. Desert in the background. Wide-angle lens, looking upward.
The tower of Babel (Gen 11:1–9)
The tower of Babel, a ziggurat that stretches into the sky, Babylonian architecture. Desert in the background. Wide-angle lens, looking upward.
The tower of Babel (Gen 11:1–9)
An abstract expressionist painting with very bright and intense colors, representing the stairway to heaven and divine light that Jacob saw in his dream. Inspired by Jackson Pollock's "Number 17A."
The tower of Babel (Gen 11:1–9)
"Tower" by Minh Lê - a children's book illustration showing the tower collapsing in simple, geometric shapes. It depicts the Tower of Siloam collapse in ancient Jerusalem.
The tower of Babel (Gen 11:1–9)
The patriarch Abraham builds a stone altar next to a huge oak tree. Oil painting in the style of Norman Rockwell.
Abram builds an altar (Gen 12)
The patriarch Abraham builds a stone altar next to a huge oak tree. Oil painting in the style of Norman Rockwell.
Abram builds an altar (Gen 12)
The matriarch Sarah sitting in the court of Pharaoh in ancient Egypt, with Abraham looking unhappy. Oil painting in the style of James Tissot.
Sarai in Pharaoh's court (Gen 12:14–15)
The matriarch Sarah sitting in the court of Pharaoh in ancient Egypt, with Abraham looking unhappy. Oil painting in the style of James Tissot.
Sarai in Pharaoh's court (Gen 12:14–15)
A flock of sheep gazing longingly at the palace of Pharaoh in ancient Egypt, with the lush Nile river in the background. Oil painting in the style of Van Gogh.
Abram's flocks in Egypt (Gen 12:16)
A flock of sheep gazing longingly at the palace of Pharaoh in ancient Egypt, with the lush Nile river in the background. Oil painting in the style of Van Gogh.
Abram's flocks in Egypt (Gen 12:16)
The patriarchs Abraham and Lot standing at the top of a mountain looking at a fertile valley. In the style of the Hudson Valley painters.
Abram and Lot separate (Gen 13:8–11)
The patriarchs Abraham and Lot standing at the top of a mountain looking at a fertile valley. In the style of the Hudson Valley painters.
Abram and Lot separate (Gen 13:8–11)
The patriarchs Abraham and Lot standing at the top of a mountain looking at a fertile valley. In the style of the Hudson Valley painters.
Abram and Lot separate (Gen 13:8–11)
The patriarch Abraham living in tents among a forest of huge trees, with herds of sheep and cows. Oil painting in the style of Julien Jos.
Abram pitches his tent among the trees of Mamre (Gen 13:18)
The patriarch Abraham living in tents among a forest of huge trees, with herds of sheep and cows. Oil painting in the style of Julien Jos.
Abram pitches his tent among the trees of Mamre (Gen 13:18)
The patriarch Abraham living in tents among a forest of huge trees, with herds of sheep and cows. Oil painting in the style of Julien Jos.
Abram pitches his tent among the trees of Mamre (Gen 13:18)
The patriarch Abraham living in tents among a forest of huge trees, with herds of sheep and cows. Oil painting in the style of Julien Jos.
Abram pitches his tent among the trees of Mamre (Gen 13:18)
The patriarch Abraham living in tents among a forest of huge trees, with herds of sheep and cows. Oil painting in the style of Julien Jos.
Abram pitches his tent among the trees of Mamre (Gen 13:18)
Ancient warriors running in a desert among tar pits, with some warriors falling into the tar. Detailed oil painting in the style of Francisco Goya.
Warriors fall into tar pits in the Valley of Siddim (Gen 14:10)
Ancient warriors running in a desert among tar pits, with some warriors falling into the tar. Detailed oil painting in the style of Francisco Goya.
Warriors fall into tar pits in the Valley of Siddim (Gen 14:10)
Ancient warriors running in a desert among tar pits, with some warriors falling into the tar. Detailed oil painting in the style of Francisco Goya.
Warriors fall into tar pits in the Valley of Siddim (Gen 14:10)
Melchizedek the king of Salem presenting bread and wine to the patriarch Abraham. Pointilistic drawing in the style of Seurat.
Melchizedek presents bread and wine to Abram (Gen 14:18–24)
Melchizedek the king of Salem presenting bread and wine to the patriarch Abraham. Pointilistic drawing in the style of Seurat.
Melchizedek presents bread and wine to Abram (Gen 14:18–24)
Melchizedek the king of Salem presenting bread and wine to the patriarch Abraham. Pointilistic drawing in the style of Seurat.
Melchizedek presents bread and wine to Abram (Gen 14:18–24)
The patriarch Abraham sleeps on the ground in the desert as the Lord (a bright light) passes through two rows of sleeping animals. Painting in the style of Francisco Goya.
Covenant with Abram (Gen 15:9–21)
The patriarch Abraham sleeps on the ground in the desert as the Lord (a bright light) passes through two rows of sleeping animals. Painting in the style of Francisco Goya.
Covenant with Abram (Gen 15:9–21)
The patriarch Abraham sleeps on the ground in the desert as the Lord (a bright light) passes through two rows of sleeping animals. Painting in the style of Francisco Goya.
Covenant with Abram (Gen 15:9–21)
The matriarch Hagar weeping by a water spring next to a desert road with an angel speaking to her. Oil painting in the style of Renoir.
Hagar flees into the desert (Gen 16)
The matriarch Hagar weeping by a water spring next to a desert road with an angel speaking to her. Oil painting in the style of Renoir.
Hagar flees into the desert (Gen 16)
An angel appears to the patriarch Abraham, who is bowing on his face. Painting in the style of Monet.
An angel appears to Abraham (Gen 17)
An angel appears to the patriarch Abraham, who is bowing on his face. Painting in the style of Monet.
An angel appears to Abraham (Gen 17)
The matriarch Sarah, an old woman, is laughing inside a tent while four shadows appear on the walls of the tent. Oil painting in the style of Mary Cassatt.
Sarah laughs (Gen 18:10–15)
Three men talk to the patriarch Abraham outside his tent. Inside the tent, an old woman is laughing. In the background are flocks of sheep and tall trees. Oil painting in the style of Mary Cassatt.
Three angels visit Abraham (Gen 18)
Three men talk to the patriarch Abraham outside his tent. Inside the tent, an old woman is laughing. In the background are flocks of sheep and tall trees. Oil painting in the style of Mary Cassatt.
Three angels visit Abraham (Gen 18)
A meteoric fireball exploding above an ancient city. Oil painting in the style of Hieronymus Bosch.
Destruction of Sodom and Gomorrah (Gen 19:24–25)
A meteoric fireball exploding above an ancient city. Oil painting in the style of Hieronymus Bosch.
Destruction of Sodom and Gomorrah (Gen 19:24–25)
A meteoric fireball exploding above an ancient city. Oil painting in the style of Hieronymus Bosch.
Destruction of Sodom and Gomorrah (Gen 19:24–25)
A meteoric fireball exploding above an ancient city. Oil painting in the style of Hieronymus Bosch.
Destruction of Sodom and Gomorrah (Gen 19:24–25)
A sculpture by Richard Serra made from twisted steel beams, inspired by the pillar of salt into which Lot's wife was turned into as she looked back toward the an ancient city.
Lot's wife (Gen 19:26)
Oil painting in the style of William-Adolphe Bouguereau, depicting Lot's wife as a forlorn figure, looking back over her shoulder in the desert as she transforms into a pillar of salt.
Lot's wife (Gen 19:26)
An oil painting in the style of Francisco Goya, depicting Lot and his daughters huddled together around a fire in a cave, with flames visible in the distance.
Lot and his daughters (Gen 19:30–38)
Oil painting of Abraham and Sarah meeting Abimelech, with the two men shaking hands and the women looking on warily. In the style of Renaissance artist Jan van Eyck, with richly detailed costumes and scenery.
Abraham, Sarah, and Abimelech (Gen 20)
Oil painting of Abraham and Sarah meeting Abimelech, with the two men shaking hands and the women looking on warily. In the style of Renaissance artist Jan van Eyck, with richly detailed costumes and scenery.
Abraham, Sarah, and Abimelech (Gen 20)
A quilt depicting a laughing grandmother with a baby in ancient times. Quilt in the style of Michael C. Thorpe.
Sarah and Isaac (Gen 21:1–7)
A quilt depicting a laughing grandmother with a baby in ancient times. Quilt in the style of Michael C. Thorpe.
Sarah and Isaac (Gen 21:1–7)
A quilt depicting a laughing grandmother with a baby in ancient times. Quilt in the style of Michael C. Thorpe.
Sarah and Isaac (Gen 21:1–7)
"Hagar and Ishmael in the Wilderness" by James McNeill Whistler: A dramatic and beautiful landscape painting depicting Hagar and Ishmael lost in the desert. The painting is mainly orange and red, with hints of blue in the sky.
Hagar and Ishmael in the desert (Gen 21:8–21)
"Hagar and Ishmael in the Wilderness" by James McNeill Whistler: A dramatic and beautiful landscape painting depicting Hagar and Ishmael lost in the desert. The painting is mainly orange and red, with hints of blue in the sky.
Hagar and Ishmael in the desert (Gen 21:8–21)
"Hagar and Ishmael in the Wilderness" by James McNeill Whistler: A dramatic and beautiful landscape painting depicting Hagar and Ishmael lost in the desert. The painting is mainly orange and red, with hints of blue in the sky.
Hagar and Ishmael in the desert (Gen 21:8–21)
"The Tamarisk Tree" by Georgia O'Keeffe. Painting depicts a well and a tamarisk tree that Abraham planted in the desert, inspired by O'Keeffe's paintings of time. The painting uses O'Keeffe's signature large-scale and realism, with a muted color palette.
Abraham plants a tamarisk tree in Beersheba (Gen 21:33)
"The Tamarisk Tree" by Georgia O'Keeffe. Painting depicts a well and a tamarisk tree that Abraham planted in the desert, inspired by O'Keeffe's paintings of time. The painting uses O'Keeffe's signature large-scale and realism, with a muted color palette.
Abraham plants a tamarisk tree in Beersheba (Gen 21:33)
"The Tamarisk Tree" by Georgia O'Keeffe. Painting depicts a well and a tamarisk tree that Abraham planted in the desert, inspired by O'Keeffe's paintings of time. The painting uses O'Keeffe's signature large-scale and realism, with a muted color palette.
Abraham plants a tamarisk tree in Beersheba (Gen 21:33)
"The Tamarisk Tree" by Paul Cezanne depicts a tamarisk tree and a water well in the desert, inspired by Cezanne's paintings of time. The painting is in Cezanne's signature Post-Impressionist style, with a series of bold and bright colors.
Abraham plants a tamarisk tree in Beersheba (Gen 21:33)
"The Tamarisk Tree" by Paul Cezanne depicts a tamarisk tree and a water well in the desert, inspired by Cezanne's paintings of time. The painting is in Cezanne's signature Post-Impressionist style, with a series of bold and bright colors.
Abraham plants a tamarisk tree in Beersheba (Gen 21:33)
"The Tamarisk Tree" by Paul Cezanne depicts a tamarisk tree and a water well in the desert, inspired by Cezanne's paintings of time. The painting is in Cezanne's signature Post-Impressionist style, with a series of bold and bright colors.
Abraham plants a tamarisk tree in Beersheba (Gen 21:33)
"The Tamarisk Tree" by Paul Cezanne depicts a tamarisk tree and a water well in the desert, inspired by Cezanne's paintings of time. The painting is in Cezanne's signature Post-Impressionist style, with a series of bold and bright colors.
Abraham plants a tamarisk tree in Beersheba (Gen 21:33)
A painting depicting Abraham and Isaac walking up the mountain to sacrifice Isaac. The sun is setting behind them, and the sky is ablaze with colors. A dark palette conveys the solemnity of the scene.
Abraham and Isaac walk up a mountain (Gen 22:1–19)
A painting depicting Abraham and Isaac walking up the mountain to sacrifice Isaac. The sun is setting behind them, and the sky is ablaze with colors. A dark palette conveys the solemnity of the scene.
Abraham and Isaac walk up a mountain (Gen 22:1–19)
The Testing of Abraham – An impactful photograph by Ansel Adams, showing close-up details of the ram's fur and horns, as well as the wild landscapes of the sacrificial scene, with a pile of wood and two blurred figures.
Testing of Abraham (Gen 22:1–19)
A mixed media collage piece with images and text from the story of Abraham and Isaac, with a ram and a pile of wood. Printed and cut-out images from old Bibles, family photos, and nature scenes are combined with hand-drawn elements. Medium: paper, pencil, gouache, ink. Artist: Frida Kahlo
Testing of Abraham (Gen 22:1–19)
A dark and somber painting in shades of blue and grey, depicting the funeral procession of the matriarch Sarah in ancient times. Inspired by Pieter Bruegel's "The Procession to Calvary"
Death of Sarah (Gen 23)
A dark and somber painting in shades of blue and grey, depicting the funeral procession of the matriarch Sarah in ancient times. Inspired by Pieter Bruegel's "The Procession to Calvary"
Death of Sarah (Gen 23)
A dark and somber painting in shades of blue and grey, depicting the funeral procession of the matriarch Sarah in ancient times. Inspired by Pieter Bruegel's "The Procession to Calvary"
Death of Sarah (Gen 23)
"Cave of Sarah" by Andrew Wyeth. A somber and reflective work in watercolor, depciting the dark and mysterious cave near a field in which the matriarch Sarah is buried.
Death of Sarah (Gen 23)
"Cave of Sarah" by Andrew Wyeth. A somber and reflective work in watercolor, depciting the dark and mysterious cave near a field in which the matriarch Sarah is buried.
Death of Sarah (Gen 23)
"Cave of Sarah" by Andrew Wyeth. A somber and reflective work in watercolor, depciting the dark and mysterious cave near a field in which the matriarch Sarah is buried.
Death of Sarah (Gen 23)
"Cave of Sarah" by Andrew Wyeth. A somber and reflective work in watercolor, depciting the dark and mysterious cave near a field in which the matriarch Sarah is buried.
Death of Sarah (Gen 23)
A painting of Rebekah watering Isaac's camels near a well, with an emphasis on texture and movement. Inspired by Markus Linnenbrink.
Rebekah waters camels (Gen 24:19–21)
A painting of Rebekah watering Isaac's camels near a well, with an emphasis on texture and movement. Inspired by Markus Linnenbrink.
Rebekah waters camels (Gen 24:19–21)
A painting of the moment when Isaac first sees the beautiful Rebekah riding a camel in a field in the distance, inspired by the dramatic lighting and use of color in the paintings of Caravaggio.
Isaac and Rebekah meet (Gen 24:62–65)
A painting of the moment when Isaac first sees the beautiful Rebekah riding a camel in a field in the distance, inspired by the dramatic lighting and use of color in the paintings of Caravaggio.
Isaac and Rebekah meet (Gen 24:62–65)
A colored pencil drawing by moki depicting two men, Isaac and Ishmael, burying Abraham in the cave at Machpelah.
Isaac and Ishmael bury Abraham (Gen 25:9–10)
A colored pencil drawing by moki depicting two men, Isaac and Ishmael, burying Abraham in the cave at Machpelah.
Isaac and Ishmael bury Abraham (Gen 25:9–10)
A colored pencil drawing by moki depicting two men, Isaac and Ishmael, burying Abraham in the cave at Machpelah.
Isaac and Ishmael bury Abraham (Gen 25:9–10)
A painting in the style of Gustav Klimt depicting twins infants, a dark-haired Jacob and red-haird Esau, wrestling in the womb.
Jacob and Esau wrestle in the womb (Gen 25:19–26)
"The Stew": A still life painting of the pot of stew, with two brothers Esau and Jacob's faces reflected in the surface of the liquid. Artist to emulate: 17th century Dutch artist Jan Vermeer.
Esau's birthright (Gen 25:27–34)
"The Stew": A still life painting of the pot of stew, with two brothers Esau and Jacob's faces reflected in the surface of the liquid. Artist to emulate: 17th century Dutch artist Jan Vermeer.
Esau's birthright (Gen 25:27–34)
"The Stew": A still life painting of the pot of stew, with two brothers Esau and Jacob's faces reflected in the surface of the liquid. Artist to emulate: 17th century Dutch artist Jan Vermeer.
Esau's birthright (Gen 25:27–34)
Watercolor painting of a pastoral scene of two men from antiquity, Isaac and Abimelech, meeting in the growing fields surrounded by desert. The color green represents growth and life, while the surrounding desert landscape symbolizes the harshness of life. A well appears off to the side by a tree.
Meeting of Isaac and Abimelech (Gen 26:12–32)
Watercolor painting of a pastoral scene of two men from antiquity, Isaac and Abimelech, meeting in the growing fields surrounded by desert. The color green represents growth and life, while the surrounding desert landscape symbolizes the harshness of life. A well appears off to the side by a tree.
Meeting of Isaac and Abimelech (Gen 26:12–32)
Watercolor painting of a pastoral scene of two men from antiquity, Isaac and Abimelech, meeting in the growing fields surrounded by desert. The color green represents growth and life, while the surrounding desert landscape symbolizes the harshness of life. A well appears off to the side by a tree.
Meeting of Isaac and Abimelech (Gen 26:12–32)
Watercolor painting of a pastoral scene of two men from antiquity, Isaac and Abimelech, meeting in the growing fields surrounded by desert. The color green represents growth and life, while the surrounding desert landscape symbolizes the harshness of life. A well appears off to the side by a tree.
Meeting of Isaac and Abimelech (Gen 26:12–32)
Watercolor painting of a pastoral scene of two men from antiquity, Isaac and Abimelech, meeting in the growing fields surrounded by desert. The color green represents growth and life, while the surrounding desert landscape symbolizes the harshness of life. A well appears off to the side by a tree.
Meeting of Isaac and Abimelech (Gen 26:12–32)
The patriarch Isaac blessing Jacob with one hand and cursing Esau on the other, in the style of Edvard Munch.
Isaac blesses Jacob (Gen 27)
A sculpturesque relief carving of the moment when Isaac is blessing Jacob and Esau is looking on in anger. The artist could use a warm palette of wood tones to bring out the emotional intensity of the scene.
Isaac blesses Jacob (Gen 27)
An abstract expressionist painting with very bright and intense colors, representing the stairway to heaven and divine light that Jacob saw in his dream. Inspired by Jackson Pollock's "Number 17A."
Jacob's dream of the stairway to heaven (Gen 28:10–15)
An abstract expressionist painting with very bright and intense colors, representing the stairway to heaven and divine light that Jacob saw in his dream. Inspired by Jackson Pollock's "Number 17A."
Jacob's dream of the stairway to heaven (Gen 28:10–15)
A stained glass window in the style of Marc Chagall of the stairway to heaven with angels on it, based on the account in Genesis 28.
Jacob's dream of the stairway to heaven (Gen 28:10–15)
A stained glass window in the style of Marc Chagall of the stairway to heaven with angels on it, based on the account in Genesis 28.
Jacob's dream of the stairway to heaven (Gen 28:10–15)
A stained glass window in the style of Marc Chagall of the stairway to heaven with angels on it, based on the account in Genesis 28.
Jacob's dream of the stairway to heaven (Gen 28:10–15)
A painting of the an ancient shepherd watering sheep at the well, with a stone rolled to the side. Artist: Leonardo da Vinci, Medium: Oil on Canvas.
Jacob waters sheep (Gen 29:10)
A painting of the an ancient shepherd watering sheep at the well, with a stone rolled to the side. Artist: Leonardo da Vinci, Medium: Oil on Canvas.
Jacob waters sheep (Gen 29:10)
An oil painting of Leah's wedding night, with her in the foreground and Jacob in the background, his back turned to her. Leah's face should express a mix of sadness, anger, and resignation. In the style of John William Waterhouse.
Jacob and Leah's wedding night (Gen 29:22–29)
A sculpture of Leah and Jacob made from rope, symbolizing the way in which the lovers were entangled by Laban's deception. Inspired by the work of Eva Hesse.
Jacob and Leah's wedding night (Gen 29:22–29)
"Unloved" by Picasso: A Cubist painting that deconstructs Leah's figure into a series of geometric shapes. The sharp angles and distorted perspective reflect her inner turmoil and emotional pain of being unloved but surrounded by three small sons.
Leah unloved (Gen 29:31–35)
"Unloved" by Picasso: A Cubist painting that deconstructs Leah's figure into a series of geometric shapes. The sharp angles and distorted perspective reflect her inner turmoil and emotional pain of being unloved but surrounded by three small sons.
Leah unloved (Gen 29:31–35)
A tiny sculpture of Rachel and Leah fighting over a handful of mandrakes, with the sculpture itself being made out of mandrakes. In the style of British sculptor Henry Moore.
Rachel and Leah arguing over mandrakes (Gen 30:14–15)
A tiny sculpture of Rachel and Leah fighting over a handful of mandrakes, with the sculpture itself being made out of mandrakes. In the style of British sculptor Henry Moore.
Rachel and Leah arguing over mandrakes (Gen 30:14–15)
Pointilist drawing of Jacob and the Lambs – This beautiful wall art features fused glass panels depicting a shepherd and his dark, spotted, and speckled lambs and goats. The colors are warm and soothing, with speckles throughout echoing the speckles on the lambs and goats.
Jacob and the spotted lambs (Gen 30:25–43)
Pointilist drawing of Jacob and the Lambs. This drawing depicts a shepherd and his flock of dark and spotted sheep and goats. The colors are warm and soothing, with speckles throughout echoing the speckles on the animals.
Jacob and the spotted lambs (Gen 30:25–43)
Pointilist drawing of Jacob and the Lambs. This drawing depicts a shepherd and his flock of dark and spotted sheep and goats. The colors are warm and soothing, with speckles throughout echoing the speckles on the animals.
Jacob and the spotted lambs (Gen 30:25–43)
Pointilist drawing of Jacob and the Lambs. This drawing depicts a shepherd and his flock of dark and spotted sheep and goats. The colors are warm and soothing, with speckles throughout echoing the speckles on the animals.
Jacob and the spotted lambs (Gen 30:25–43)
Pointilist drawing of Jacob and the Lambs. This drawing depicts a shepherd and his flock of dark and spotted sheep and goats. The colors are warm and soothing, with speckles throughout echoing the speckles on the animals.
Jacob and the spotted lambs (Gen 30:25–43)
"Rachel's Respite" by Mary Cassatt painted in the style of the artist with muted colors. The scene is of Rachel in her tent, surrounded by her household gods. She is seated on a saddle, with her back to the viewer, and her head bowed. Her father, Laban, is visible in the background, searching through her belongings.
Rachel steals the household gods (Gen 31:33–35)
"Rachel's Respite" by Mary Cassatt painted in the style of the artist with muted colors. The scene is of Rachel in her tent, surrounded by her household gods. She is seated on a saddle, with her back to the viewer, and her head bowed. Her father, Laban, is visible in the background, searching through her belongings.
Rachel steals the household gods (Gen 31:33–35)
Oil painting in the style of Greuze. A young woman, Rachel, is in her tent, surrounded by her belongings. She is seated on a saddle, with her back to the viewer, and her head bowed. Her father, Laban, is visible in the background, searching through her belongings.
Rachel steals the household gods (Gen 31:33–35)
A sculpture of two stone heaps with a figures of two men, Jacob and Laban, leaning on them in the background, carved in basalt by Michelangelo.
Jacob and Laban build stone pillars (Gen 31:45–54)
A sculpture of two stone heaps with a figures of two men, Jacob and Laban, leaning on them in the background, carved in basalt by Michelangelo.
Jacob and Laban build stone pillars (Gen 31:45–54)
A painting of Jacob and the angel wrestling by a river, with intense colors and brushstrokes inspired by the work of Ernst Ludwig Kirchner.
Jacob wrestles (Gen 32:22–32)
A painting of Jacob and the angel wrestling by a river, with intense colors and brushstrokes inspired by the work of Ernst Ludwig Kirchner.
Jacob wrestles (Gen 32:22–32)
A painting of Jacob and the angel wrestling by a river, with intense colors and brushstrokes inspired by the work of Ernst Ludwig Kirchner.
Jacob wrestles (Gen 32:22–32)
A painting of Jacob and the angel wrestling by a river, with intense colors and brushstrokes inspired by the work of Ernst Ludwig Kirchner.
Jacob wrestles (Gen 32:22–32)
The Ten Minas, Katherina Grosse, 2007, acrylic on canvas. The dynamic painting is composed of layer upon layer of vivid colors and patterns, which come together to create a sense of movement and energy. The central figure is a person surrounded by ten smaller figures. The overall composition conveys a sense of optimism and possibility, reflecting the possibility of doubling one's money.
Jacob wrestles (Gen 32:22–32)
"Brotherly Love" by Norman Rockwell: A heartwarming painting of adults Jacob and Esau running to greet each other in a field surrounded by flocks of sheep after their long-awaited reunion.
Meeting of Jacob and Esau (Gen 33)
"Brotherly Love" by Norman Rockwell: A heartwarming painting of adults Jacob and Esau running to greet each other in a field surrounded by flocks of sheep after their long-awaited reunion.
Meeting of Jacob and Esau (Gen 33)
A tapestry in the style of the Bayeux Tapestry depicting the meeting of Jacob and Esau, two men surrounded by flocks of sheep and crowds of people..
Meeting of Jacob and Esau (Gen 33)
A tapestry in the style of the Bayeux Tapestry depicting the meeting of Jacob and Esau, two men surrounded by flocks of sheep and crowds of people..
Meeting of Jacob and Esau (Gen 33)
An abstract painting in the style of Francis Bacon that explores the idea of Dinah as a victim. The colors are dark, with sharp lines and angles.
Dinah (Gen 34:1–4)
"The Men of Shechem" - A painting or sculpture depicting the men of Shechem as monsters, emphasizing their heinous actions. It could be done in a hyper-realistic style, in a medium like clay or wax. Inspired by the "Venus of Willendorf" or the "Giant Buddhas of Bamiyan."
The brothers of Dinah deceive the people of Shechem (Gen 34:13–29)
"The Men of Shechem" - A painting or sculpture depicting the men of Shechem as monsters, emphasizing their heinous actions. It could be done in a hyper-realistic style, in a medium like clay or wax. Inspired by the "Venus of Willendorf" or the "Giant Buddhas of Bamiyan."
The brothers of Dinah deceive the people of Shechem (Gen 34:13–29)
Oil painting in the style of Frederic Remington, depicting Jacob and his family building an altar at Bethel near a large tree.
Jacob buries foreign gods at Shechem (Gen 35:2–4)
A cubist painting that represents the change that the patriarch Jacob undergoes when he receives a new name from God at an altar at Bethel. In the style of Joan Miró.
Jacob receives a new name (Gen 35:9–14)
A cubist painting that represents the change that the patriarch Jacob undergoes when he receives a new name from God at an altar at Bethel. In the style of Joan Miró.
Jacob receives a new name (Gen 35:9–14)
A painting with of a family tree in various colors representing different tribes. In the style of Mark Rothko.
The descendants of Esau (Gen 36)
A painting with of a family tree in various colors representing different tribes. In the style of Mark Rothko.
The descendants of Esau (Gen 36)
A painting with of a family tree in various colors representing different tribes. In the style of Mark Rothko.
The descendants of Esau (Gen 36)
A painting with of a family tree in various colors representing different tribes. In the style of Mark Rothko.
The descendants of Esau (Gen 36)
An oil painting of a sheaf of wheat standing upright in a field, with the other sheaves bowing down around it. Art direction: Realistic, with muted colors. In the style of John Constable.
Joseph's dream of a sheaf of wheat (Gen 37:7)
An oil painting of a sheaf of wheat standing upright in a field, with the other sheaves bowing down around it. Art direction: Realistic, with muted colors. In the style of John Constable.
Joseph's dream of a sheaf of wheat (Gen 37:7)
An oil painting of Joseph dressed in a rainbow robe being bowed to by the sun, moon, and stars, In the style of William Blake.
Joseph's dream of the sun, moon, and stars bowing to him (Gen 37:9)
A hand holding colorful rags in the foreground, while in the distance a caravan of camels recedes into the hills. The background has muted colors, while the foreground is dark and vibrant.
Joseph's brothers sell him (Gen 37:28)
A hand holding colorful rags in the foreground, while in the distance a caravan of camels recedes into the hills. The background has muted colors, while the foreground is dark and vibrant.
Joseph's brothers sell him (Gen 37:28)
Oil painting of Joseph in the Bible wearing a many-colored coat, surrounded by his brothers, who are jealous of him, in the style of Van Gogh.
Joseph's brothers sell him (Gen 37:28)
A painting of Judah and Tamar outside an ancient city along a dusty road, with Tamar's face in shadow and Judah's face hidden behind a scarf.
Judah and Tamar (Gen 38:13–19)
A painting of Judah and Tamar outside an ancient city along a dusty road, with Tamar's face in shadow and Judah's face hidden behind a scarf.
Judah and Tamar (Gen 38:13–19)
A painting depicting Joseph being brought into Potiphar's house by the servants. The painting is in the style of Diego Rivera signature "fresco" style, with bold and bright colors.
Joseph in Potiphar's house (Gen 39:1–6)
A painting depicting Joseph being brought into Potiphar's house by the servants. The painting is in the style of Diego Rivera signature "fresco" style, with bold and bright colors.
Joseph in Potiphar's house (Gen 39:1–6)
A painting depicting Joseph being brought into Potiphar's house by the servants. The painting is in the style of Diego Rivera signature "fresco" style, with bold and bright colors.
Joseph in Potiphar's house (Gen 39:1–6)
A painting depicting Joseph being brought into Potiphar's house by the servants. The painting is in the style of Diego Rivera signature "fresco" style, with bold and bright colors.
Joseph in Potiphar's house (Gen 39:1–6)
A painting depicting Joseph and a woman in a bedroom, with the woman grabbing Joseph's cloak and Joseph attempting to escape. The painting is in the style of Diego Rivera signature "fresco" style, with bold and bright colors.
Joseph and Potiphar's wife (Gen 39:6–12)
A painting depicting Joseph and a woman in a bedroom, with the woman grabbing Joseph's cloak and Joseph attempting to escape. The painting is in the style of Diego Rivera signature "fresco" style, with bold and bright colors.
Joseph and Potiphar's wife (Gen 39:6–12)
A sculpture of grapes being squeezed into a cup, with the grapes and cup both made of glass. Medium: Glass sculpture. Artist: Dale Chihuly
The cupbearer's dream (Gen 40:9–11)
A sculpture of grapes being squeezed into a cup, with the grapes and cup both made of glass. Medium: Glass sculpture. Artist: Dale Chihuly
The cupbearer's dream (Gen 40:9–11)
A sculpture of grapes being squeezed into a cup, with the grapes and cup both made of glass. Medium: Glass sculpture. Artist: Dale Chihuly
The cupbearer's dream (Gen 40:9–11)
A birdfeeder in the shape of three baskets holding bread, with birds pecking at the birdfeeder.
The baker's dream (Gen 40:16–19)
A birdfeeder in the shape of three baskets holding bread, with birds pecking at the birdfeeder.
The baker's dream (Gen 40:16–19)
"The Seven Years of Plenty and the Seven Years of Famine" - a painting in the style of Vincent van Gogh depicting the two scenes from Pharaoh's dreams: seven fat cows, seven thin cows, seven full heads of wheat, seven sickly heads of wheat.
Pharaoh's dreams (Gen 41:1–7)
"The Seven Years of Plenty and the Seven Years of Famine" - a painting in the style of Vincent van Gogh depicting the two scenes from Pharaoh's dreams: seven fat cows, seven thin cows, seven full heads of wheat, seven sickly heads of wheat.
Pharaoh's dreams (Gen 41:1–7)
"The Seven Years of Plenty and the Seven Years of Famine" - a painting in the style of Vincent van Gogh depicting the two scenes from Pharaoh's dreams: seven fat cows, seven thin cows, seven full heads of wheat, seven sickly heads of wheat.
Pharaoh's dreams (Gen 41:1–7)
"The Seven Years of Plenty and the Seven Years of Famine" - a painting in the style of Vincent van Gogh depicting the two scenes from Pharaoh's dreams: seven fat cows, seven thin cows, seven full heads of wheat, seven sickly heads of wheat.
Pharaoh's dreams (Gen 41:1–7)
A long line of ancient Egyptians waiting in line for food. Oil painting in the style of Edward Hopper.
People come to Egypt for food (Gen 41:56–57)
A group of hungry ancient Egyptians waiting in line for food. Oil painting in the style of Edward Hopper.
People come to Egypt for food (Gen 41:56–57)
A group of hungry ancient Egyptians waiting in line for food. Oil painting in the style of Edward Hopper.
People come to Egypt for food (Gen 41:56–57)
A wide angle oil painting from above of ten men standing before an ancient Egyptian prince in a large hall.
Joseph's brothers appear before him (Gen 42:6–17)
A wide angle oil painting from above of ten men standing before an ancient Egyptian prince in a large hall.
Joseph's brothers appear before him (Gen 42:6–17)
A wide angle oil painting from above of ten men in long desert traveling robes standing before an ancient Egyptian prince in a large hall.
Joseph's brothers appear before him (Gen 42:6–17)
A wide angle oil painting from above of ten men in long desert traveling robes standing before an ancient Egyptian prince in a large hall.
Joseph's brothers appear before him (Gen 42:6–17)
A wide angle oil painting from above of ten men in long desert traveling robes standing before an ancient Egyptian prince in a large hall.
Joseph's brothers appear before him (Gen 42:6–17)
A surprised man in ancient times opens a sack of feed for his donkey to uncover shining silver in the sack. A nighttime scene with a donkey in the background. An oil painting in the style of Rembrandt.
Joseph's brother discovers the silver (Gen 42:27–28)
A surprised man in ancient times opens a sack of feed for his donkey to uncover shining silver in the sack. A nighttime scene with a donkey in the background. An oil painting in the style of Rembrandt.
Joseph's brother discovers the silver (Gen 42:27–28)
A surprised man in ancient times opens a sack of feed for his donkey to uncover shining silver in the sack. A nighttime scene with a donkey in the background. An oil painting in the style of Rembrandt.
Joseph's brother discovers the silver (Gen 42:27–28)
"The Banquet" – A painting in the style of Raphael depicting Joseph's 11 brothers enjoying a feast with 3 large tables at his ancient Egyptian royal palace.
Joseph's brothers dine with him (Gen 43:32–34)
"The Banquet" – A painting in the style of Raphael depicting Joseph's 11 brothers enjoying a feast with 3 large tables at his ancient Egyptian royal palace.
Joseph's brothers dine with him (Gen 43:32–34)
"The Banquet" – A painting in the style of Raphael depicting Joseph's 11 brothers enjoying a feast with 3 large tables at his ancient Egyptian royal palace.
Joseph's brothers dine with him (Gen 43:32–34)
A closeup of an ornate, empty silver cup lying in a burlap sack filled with grain, with a shocked face of a bearded man appearing in a reflection on its surface..
The silver cup (Gen 44:12)
A closeup of an ornate, empty silver cup lying in a burlap sack filled with grain, with a shocked face of a bearded man appearing in a reflection on its surface..
The silver cup (Gen 44:12)
An oil painting of Joseph and his 11 brothers embracing, with tears in their eyes, set against a backdrop of the Egyptian pyramids. In the style of Caravaggio.
Joseph and his brothers embrace (Gen 45:14–15)
An oil painting of Joseph and his 11 brothers embracing, with tears in their eyes, set against a backdrop of the Egyptian pyramids. In the style of Caravaggio.
Joseph and his brothers embrace (Gen 45:14–15)
An oil painting of Joseph and his 11 brothers embracing, with tears in their eyes, set against a backdrop of the Egyptian pyramids. In the style of Caravaggio.
Joseph and his brothers embrace (Gen 45:14–15)
An oil painting of Joseph and his 11 brothers embracing, with tears in their eyes, set against a backdrop of the Egyptian pyramids. In the style of Caravaggio.
Joseph and his brothers embrace (Gen 45:14–15)
An oil painting of Joseph and his 11 brothers embracing, with tears in their eyes, set against a backdrop of the Egyptian pyramids. In the style of Caravaggio.
Joseph and his brothers embrace (Gen 45:14–15)
The patriarch Jacob looking in disbelief at 20 donkeys loaded with fine goods. In the style of Roy Lichtenstein.
Israel's disbelief that Joseph is alive (Gen 45:21–27)
The patriarch Jacob looking in disbelief at 20 donkeys loaded with fine goods. In the style of Roy Lichtenstein.
Israel's disbelief that Joseph is alive (Gen 45:21–27)
The patriarch Jacob looking in disbelief at 20 donkeys loaded with fine goods. In the style of Roy Lichtenstein.
Israel's disbelief that Joseph is alive (Gen 45:21–27)
The patriarch Jacob and his whole family travel to Egypt with flocks sheep, cows, and donkeys. Painting in the style of German painter Anselm Kiefer.
Israel's family travels to Egypt (Gen 46:5–7)
The patriarch Jacob and his whole family travel to Egypt with flocks sheep, cows, and donkeys. Painting in the style of German painter Anselm Kiefer.
Israel's family travels to Egypt (Gen 46:5–7)
The patriarch Jacob and his whole family travel to Egypt with flocks sheep, cows, and donkeys. Painting in the style of German painter Anselm Kiefer.
Israel's family travels to Egypt (Gen 46:5–7)
The patriarch Jacob and his whole family travel to Egypt with flocks sheep, cows, and donkeys. Painting in the style of German painter Anselm Kiefer.
Israel's family travels to Egypt (Gen 46:5–7)
The patriarch Jacob and his whole family travel to Egypt with flocks sheep, cows, and donkeys. Painting in the style of German painter Anselm Kiefer.
Israel's family travels to Egypt (Gen 46:5–7)
The patriarch Jacob sees his son Joseph in a chariot the distance and starts running to greet him near the Nile with flocks of sheep. Painting in the style of Manet.
Israel sees Joseph in the distance (Gen 46:28–29)
The patriarch Jacob sees his son Joseph in a chariot the distance and starts running to greet him near the Nile with flocks of sheep. Painting in the style of Manet.
Israel sees Joseph in the distance (Gen 46:28–29)
The patriarch Jacob sees his son Joseph in a chariot the distance and starts running to greet him near the Nile with flocks of sheep. Painting in the style of Manet.
Israel sees Joseph in the distance (Gen 46:28–29)
The patriarch Joseph appears in a chariot the distance before the patriarch Jacob near the Nile with flocks of sheep. Painting in the style of Seurat.
Israel and his family arrive in Goshen (Gen 46:28–29)
The patriarch Joseph appears in a chariot the distance before the patriarch Jacob near the Nile with flocks of sheep. Painting in the style of Seurat.
Israel and his family arrive in Goshen (Gen 46:28–29)
The patriarch Jacob and his sons in robes as they bow before Pharaoh. A vibrant and colorful scene depicting the abundance of Pharaoh's wealth and the brothers' humility. Think of the hues and saturation in paintings by Ernst Kirchner.
Israel speaks to Pharaoh (Gen 47:1–10)
The patriarch Jacob and his sons in robes as they bow before Pharaoh. A vibrant and colorful scene depicting the abundance of Pharaoh's wealth and the brothers' humility. Think of the hues and saturation in paintings by Ernst Kirchner.
Israel speaks to Pharaoh (Gen 47:1–10)
The patriarch Jacob and his sons in robes as they bow before Pharaoh. A vibrant and colorful scene depicting the abundance of Pharaoh's wealth and the brothers' humility. Think of the hues and saturation in paintings by Ernst Kirchner.
Israel speaks to Pharaoh (Gen 47:1–10)
Ancient Egyptian art depicting 12 men before pharaoh discussing sheep, cows, and donkeys.
Egyptians presenting their livestock to Joseph (Gen 47:13–26)
Ancient Egyptian art depicting 12 men before pharaoh discussing sheep, cows, and donkeys.
Egyptians presenting their livestock to Joseph (Gen 47:13–26)
Ancient Egyptian art depicting 12 men before pharaoh discussing sheep, cows, and donkeys.
Egyptians presenting their livestock to Joseph (Gen 47:13–26)
Ancient Egyptian art depicting 12 men before pharaoh discussing sheep, cows, and donkeys.
Egyptians presenting their livestock to Joseph (Gen 47:13–26)
Two men, one older and one younger, based on the story of Jacob blessing his grandsons Manasseh and Ephraim. The older figure is based on a traditional religious icon, while the younger figure is more abstract or representational. Medium: Oil painting, artist: Jan van Eyck
Israel blesses Joseph's sons (Gen 48)
"The Promise" by Diego Rivera. A mural-sized painting could depict the elderly, bedridden Jacob making his promise to Ephraim and Manasseh and touching their heads, with the two boys looking on solemnly. It could be done in a realistic style, with muted colors to capture the seriousness of the moment.
Israel blesses Joseph's sons (Gen 48)
"The Promise" by Diego Rivera. A mural-sized painting could depict the elderly, bedridden Jacob making his promise to Ephraim and Manasseh and touching their heads, with the two boys looking on solemnly. It could be done in a realistic style, with muted colors to capture the seriousness of the moment.
Israel blesses Joseph's sons (Gen 48)
"The Promise" by Diego Rivera. A mural-sized painting could depict the elderly, bedridden Jacob making his promise to Ephraim and Manasseh and touching their heads, with the two boys looking on solemnly. It could be done in a realistic style, with muted colors to capture the seriousness of the moment.
Israel blesses Joseph's sons (Gen 48)
A Baroque-style painting with rich colors and large amounts of detail, depicting the moment when the patriarch Jacob blesses his 12 sons.
Jacob blesses his sons (Gen 49:1–28)
A Baroque-style painting with rich colors and large amounts of detail, depicting the moment when the patriarch Jacob blesses his 12 sons.
Jacob blesses his sons (Gen 49:1–28)
A ancient Egyptian large mourning party travels through the desert, with horses and chariots. In the style of landscape painter Alfred Bierstadt.
Traveling to Jacob's burial (Gen 50:7–9)
A ancient Egyptian large mourning party travels through the desert, with horses and chariots. In the style of landscape painter Alfred Bierstadt.
Traveling to Jacob's burial (Gen 50:7–9)
A modern painting in the style of Mark Rothko, with bold streaks of color representing the good and bad of life, coming together to form a beautiful whole.
"You intended to harm me, but God intended it for good" (Gen 50:20)
A modern painting in the style of Mark Rothko, with bold streaks of color representing the good and bad of life, coming together to form a beautiful whole.
"You intended to harm me, but God intended it for good" (Gen 50:20)
A modern painting in the style of Mark Rothko, with bold streaks of color representing the good and bad of life, coming together to form a beautiful whole.
"You intended to harm me, but God intended it for good" (Gen 50:20)
A light and glass installation in the style of Dale Chihuly, inspired by the transfiguration of Jesus and the light that surrounds him.
The burning bush (Exod 3:2)
A light and glass installation in the style of Dale Chihuly, inspired by the transfiguration of Jesus and the light that surrounds him.
The burning bush (Exod 3:2)
A light and glass installation in the style of Dale Chihuly, inspired by the transfiguration of Jesus and the light that surrounds him.
The burning bush (Exod 3:2)
Ancient Egyptian people running in panic from many frogs. In the style of a 1990s Saturday morning cartoon.
The plague of frogs (Exod 8:1–15)
Ancient Egyptian people running in panic from many frogs. In the style of a 1990s Saturday morning cartoon.
The plague of frogs (Exod 8:1–15)
Ancient Egyptian people running in panic from many frogs. In the style of a 1990s Saturday morning cartoon.
The plague of frogs (Exod 8:1–15)
A crowd of ancient Egyptian people running in panic from a horde of frogs. In the style of an ancient Egyptian wall painting.
The plague of frogs (Exod 8:1–15)
A crowd of ancient Egyptian people running in panic from a horde of frogs. In the style of an ancient Egyptian wall painting.
The plague of frogs (Exod 8:1–15)
The plagues of Exodus, in the style of ancient Egyptian tomb art.
The plague of hail (Exod 9:13–35)
The plagues of Exodus, in the style of ancient Egyptian tomb art.
The plague of the firstborn (Exod 11)
Aerial view of Moses parting the Red Sea in Exodus, with a path of land passing throuh water walls
The crossing of the Red Sea (Exod 14:21–31)
Aerial view of Moses parting the Red Sea in Exodus, with a path of land passing through water walls
The crossing of the Red Sea (Exod 14:21–31)
Aerial view of Moses parting the Red Sea in Exodus, with a path of land passing throuh water walls, and Moses in the foreground holding a staff and raising his hands. Oil painting in the style of JMW Turner
The crossing of the Red Sea (Exod 14:21–31)
Aerial view of Moses parting the Red Sea in Exodus, with a path of land passing throuh water walls, and Moses in the foreground holding a staff and raising his hands. Oil painting in the style of JMW Turner
The crossing of the Red Sea (Exod 14:21–31)
Baalam's donkey talking to him in a desert in front of cliffs. Balaam is a man dressed in robes, and a fire is nearby. In the style of Marc Chagall.
Balaam's donkey (Num 22:24–35)
Baalam's donkey talking to him in a desert in front of cliffs. Balaam is a man dressed in robes, and a fire is nearby. In the style of Marc Chagall.
Balaam's donkey (Num 22:24–35)
Baalam's donkey talking to him in a desert in front of cliffs. Balaam is a man dressed in robes, and a fire is nearby. In the style of Marc Chagall.
Balaam's donkey (Num 22:24–35)
Baalam's donkey talking to him in a desert in front of cliffs. Balaam is a man dressed in robes, and a fire is nearby. In the style of Marc Chagall.
Balaam's donkey (Num 22:24–35)
The Sons of Korah by David Macaulay. A group of ancient Hebrew men fall into a crack in the earth when they displease God.
The sons of Korah (Num 26:9–11)
The Sons of Korah in the style of "The Way Things Work" by David Macaulay, an instructional children's book. A group of ancient Hebrew men fall into a crack in the earth when they displease God.
The sons of Korah (Num 26:9–11)
The Sons of Korah in the style of "The Way Things Work" by David Macaulay, an instructional children's book. A group of ancient Hebrew men fall into a crack in the earth when they displease God.
The sons of Korah (Num 26:9–11)
The Sons of Korah in the style of "The Way Things Work" by David Macaulay, an instructional children's book. A group of ancient Hebrew men fall into a crack in the earth when they displease God.
The sons of Korah (Num 26:9–11)
The Sons of Korah in the style of "The Way Things Work" by David Macaulay, an instructional children's book. A group of ancient Hebrew men fall into a crack in the earth when they displease God.
The sons of Korah (Num 26:9–11)
A woman wearing makeup leaping through an open window onto a balcony with three men behind her. In the style of a 1990s newspaper comic strip.
The death of Jezebel (2Kgs 9:30–33)
A woman wearing makeup leaping through an open window onto a balcony with three men behind her. In the style of a 1990s newspaper comic strip.
The death of Jezebel (2Kgs 9:30–33)
A woman wearing makeup leaping through an open window onto a balcony with three men behind her. In the style of a 1990s newspaper comic strip.
The death of Jezebel (2Kgs 9:30–33)
"The Delighted Heart," 2019, watercolor. A heart shape made of brightly colored flowers and leaves, with a small bird perched on one corner.
"Delight yourself in the Lord, and he will give you the desires of your heart." (Ps 37:4–5)
"The Delighted Heart," 2019, watercolor. A heart shape made of brightly colored flowers and leaves, with a small bird perched on one corner.
"Delight yourself in the Lord, and he will give you the desires of your heart." (Ps 37:4–5)
"The Delighted Heart," 2019, watercolor. A heart shape made of brightly colored flowers and leaves, with a small bird perched on one corner.
"Delight yourself in the Lord, and he will give you the desires of your heart." (Ps 37:4–5)
"The Delighted Heart," 2019, watercolor. A heart shape made of brightly colored flowers and leaves, with a small bird perched on one corner.
"Delight yourself in the Lord, and he will give you the desires of your heart." (Ps 37:4–5)
Act, 2018, acrylic painting.  A scene of a city street, with people going about their daily lives - walking, talking, laughing. The painting is done in a bright, cheerful palette, with the buildings and sidewalks painted in primary colors. The people are shown in silhouette, their faces turned up towards the sun.
"Delight yourself in the Lord, and he will give you the desires of your heart." (Ps 37:4–5)
Act, 2018, acrylic painting.  A scene of a city street, with people going about their daily lives - walking, talking, laughing. The painting is done in a bright, cheerful palette, with the buildings and sidewalks painted in primary colors. The people are shown in silhouette, their faces turned up towards the sun.
"Delight yourself in the Lord, and he will give you the desires of your heart." (Ps 37:4–5)
Act, 2018, acrylic painting.  A scene of a city street, with people going about their daily lives - walking, talking, laughing. The painting is done in a bright, cheerful palette, with the buildings and sidewalks painted in primary colors. The people are shown in silhouette, their faces turned up towards the sun.
"Delight yourself in the Lord, and he will give you the desires of your heart." (Ps 37:4–5)
"The Fortress" by Rembrandt (1640). A painting of a man in armor, standing alone in a dark room, with a single light source shining on him.
"My refuge and my fortress" (Ps 91)
"The Refuge" by Bob Ross (1980). A painting of a small shack providing shelter in the middle of a snow-covered field with snowy trees in the background..
"My refuge and my fortress" (Ps 91)
"The Wanderer" by Caspar David Friedrich, 1822. Oil on canvas. This painting features a lone figure gazing out at a vast and empty landscape. The figure seems small and insignificant in comparison to the grandeur of nature. This painting reflects the feelings of loneliness and isolation that can be experienced when going through difficult times.
"My refuge and my fortress" (Ps 91)
"The Wanderer" by Caspar David Friedrich, 1822. Oil on canvas. This painting features a lone figure gazing out at a vast and empty landscape. The figure seems small and insignificant in comparison to the grandeur of nature. This painting reflects the feelings of loneliness and isolation that can be experienced when going through difficult times.
"My refuge and my fortress" (Ps 91)
"The Wanderer" by Caspar David Friedrich, 1822. Oil on canvas. This painting features a lone figure gazing out at a vast and empty landscape. The figure seems small and insignificant in comparison to the grandeur of nature. This painting reflects the feelings of loneliness and isolation that can be experienced when going through difficult times.
"My refuge and my fortress" (Ps 91)
"The Rock of Salvation" by JMW Turner. Oil on canvas. This painting features a person clinging to a large rock in the middle of a raging river. The rock represents the idea of salvation and protection from danger.
"My refuge and my fortress" (Ps 91)
"The Deliverer" by Henry Ossawa Tanner, 1898. Oil on canvas. This painting features a person rescuing another person from a shipwreck. The first person represents the idea of deliverance from danger.
"My refuge and my fortress" (Ps 91)
"God's Shelter" by Romare Bearden, 1970. mixed media collage. A richly-hued and textured collage depicting a young African American boy crouching under a tree in a fierce thunderstorm. The tree and the boy are surrounded by a bright, shining light, signifying the protection of the divine.
"Whoever dwells in the shelter of the Most High" (Ps 91:1–2)
"God's Shelter" by Romare Bearden, 1970. mixed media collage. A richly-hued and textured collage depicting a young African American boy crouching under a tree in a fierce thunderstorm. The tree and the boy are surrounded by a bright, shining light, signifying the protection of the divine.
"Whoever dwells in the shelter of the Most High" (Ps 91:1–2)
"God's Shelter" by Romare Bearden, 1970. mixed media collage. A richly-hued and textured collage depicting a young African American boy crouching under a tree in a fierce thunderstorm. The tree and the boy are surrounded by a bright, shining light, signifying the protection of the divine.
"Whoever dwells in the shelter of the Most High" (Ps 91:1–2)
"Refuge," 2019, watercolor painting. A bird with another, smaller bird looking at the viewer and taking refuge underneath the wing of the first bird.
"Under his wings you will find refuge" (Ps 91:3–4)
"Refuge," 2019, watercolor painting. A bird with another, smaller bird looking at the viewer and taking refuge underneath the wing of the first bird.
"Under his wings you will find refuge" (Ps 91:3–4)
"Fear Not", 2020, still from anime movie. A young girl looks out over a dark cityscape, the lights of the buildings shining in the night. She is not afraid of the darkness, or the dangers that lurk within it.
"You will not fear the terror of night" (Ps 91:5–6)
"Fear Not", 2020, still from anime movie. A young girl looks out over a dark cityscape, the lights of the buildings shining in the night. She is not afraid of the darkness, or the dangers that lurk within it.
"You will not fear the terror of night" (Ps 91:5–6)
"So that you will not strike your foot against a stone", 2020, by Piet Oudolf: A drone photo at golden hour of a large garden with a stone pathway leading through fields of tall native grasses and flowers.
"You will not strike your foot against a stone" (Ps 91:11–12)
"So that you will not strike your foot against a stone", 2020, by Piet Oudolf: A drone photo at golden hour of a large garden with a stone pathway leading through fields of tall native grasses and flowers.
"You will not strike your foot against a stone" (Ps 91:11–12)
"Treading on the Lion" 1990, tissue paper collage. A man in business attire stands on a lion's back, one heel digging into the animal's fur. The lion looks up at the man with a bored expression.
"You will tread on the lion and the cobra" (Ps 91:13)
 “Ascension”, 2019, photography. An image of a lone figure trekking up a winding mountain path. The arduous journey represents the challenges we face in life, with the ultimate goal of reaching heaven. In the style of a National Geographic landscape photo.
"With long life I will satisfy him" (Ps 91:14–16)
 “Ascension”, 2019, photography. An image of a lone figure trekking up a winding mountain path. The arduous journey represents the challenges we face in life, with the ultimate goal of reaching heaven. In the style of a National Geographic landscape photo.
"With long life I will satisfy him" (Ps 91:14–16)
 “Ascension”, 2019, photography. An image of a lone figure trekking up a winding mountain path. The arduous journey represents the challenges we face in life, with the ultimate goal of reaching heaven. In the style of a National Geographic landscape photo.
"With long life I will satisfy him" (Ps 91:14–16)
The Stone the Builders Rejected, 1887, oil painting. This impressionistic painting features a large stone in the center of the canvas with workers around it. The workers are chiseling away at the stone, making it into a smaller size.
"The stone the builders rejected" (Ps 118:22, Luke 20:17)
The Stone the Builders Rejected, 1887, oil painting. This impressionistic painting features a large stone in the center of the canvas with workers around it. The workers are chiseling away at the stone, making it into a smaller size.
"The stone the builders rejected" (Ps 118:22, Luke 20:17)
The Stone the Builders Rejected, 1887, oil painting. This impressionistic painting features a large stone in the center of the canvas with workers around it. The workers are chiseling away at the stone, making it into a smaller size.
"The stone the builders rejected" (Ps 118:22, Luke 20:17)
The Stone the Builders Rejected, 1887, oil painting. This impressionistic painting features a large stone in the center of the canvas with workers around it. The workers are chiseling away at the stone, making it into a smaller size.
"The stone the builders rejected" (Ps 118:22, Luke 20:17)
The Stone the Builders Rejected, 2015, mixed media installation. This installation features a large stone in the center of the room with a laser projector shining a projection of a building on the stone.
"The stone the builders rejected" (Ps 118:22, Luke 20:17)
The Stone the Builders Rejected, 2015, mixed media installation. This installation features a large stone in the center of the room with a laser projector shining a projection of a building on the stone.
"The stone the builders rejected" (Ps 118:22, Luke 20:17)
The Stone the Builders Rejected, 2015. This installation features a large stone in the center of the room with a laser projector shining a projection of a building into fog above the stone.
"The stone the builders rejected" (Ps 118:22, Luke 20:17)
"The Prodigal Son" by Kazuo Shiraga: A Japanese artist known for his wild and energetic style of painting with his feet, Shiraga creates an unforgettable image of the prodigal son in the midst of his hopelessness. The painting is chaotic and jarring but ultimately offers a visually stunning take on the story.
"Out of the depths I cry to you, O LORD" (Ps 130)
"Trust in the LORD," 2018, mixed media. A heart shape is made out of different materials including wood, fabric, glass, and wire. The heart is broken in the middle, but there is a bandage around it.
"The Lord heals the brokenhearted" (Ps 147:3)
"So that you will not strike your foot against a stone", 2020, by Piet Oudolf: A drone photo at golden hour of a large garden with a stone pathway leading through fields of tall native grasses and flowers.
"He will direct your paths" (Prov 3:5–6)
"So that you will not strike your foot against a stone", 2020, by Piet Oudolf: A drone photo at golden hour of a large garden with a stone pathway leading through fields of tall native grasses and flowers.
"He will direct your paths" (Prov 3:5–6)
"In All Your Ways Acknowledge Him," 2017, oil painting. An older woman is shown walking down a path with a cane. The background is blurry, but the path is clear. The woman's eyes are closed, and she has a peaceful expression on her face.
"He will direct your paths" (Prov 3:5–6)
"In All Your Ways Acknowledge Him," 2017, oil painting. An older woman is shown walking down a path with a cane. The background is blurry, but the path is clear. The woman's eyes are closed, and she has a peaceful expression on her face.
"He will direct your paths" (Prov 3:5–6)
"In All Your Ways Acknowledge Him," 2017, oil painting. An older woman is shown walking down a path with a cane. The background is blurry, but the path is clear. The woman's eyes are closed, and she has a peaceful expression on her face.
"He will direct your paths" (Prov 3:5–6)
"Paths": 2019, Digital painting. A bright and colorful painting depicting different paths that wind through a heart-shaped field, representing the different choices we have in life and how the Lord can help us make the right choices.
"He will direct your paths" (Prov 3:5–6)
"Paths": 2019, Digital painting. A bright and colorful painting depicting different paths that wind through a heart-shaped field, representing the different choices we have in life and how the Lord can help us make the right choices.
"He will direct your paths" (Prov 3:5–6)
"Paths": 2019, Digital painting. A bright and colorful painting depicting different paths that wind through a heart-shaped field, representing the different choices we have in life and how the Lord can help us make the right choices.
"He will direct your paths" (Prov 3:5–6)
A painting in bright, bold colors depicting looking to the future with hope. The painting could be very abstract, or it could be more representational. Either way, it should be eye-catching and visually interesting. In the style of Kerry James Marshall.
"I know the plans I have for you" (Jer 29:11)
A painting in bright, bold colors depicting looking to the future with hope. The painting could be very abstract, or it could be more representational. Either way, it should be eye-catching and visually interesting. In the style of Kerry James Marshall.
"I know the plans I have for you" (Jer 29:11)
A painting in bright, bold colors depicting looking to the future with hope. The painting could be very abstract, or it could be more representational. Either way, it should be eye-catching and visually interesting. In the style of Kerry James Marshall.
"I know the plans I have for you" (Jer 29:11)
An organic watercolor painting showing numerous swirling paths representing possible futures, with one brighter path that shows the actual future.
"I know the plans I have for you" (Jer 29:11)
"The Lord's Plans" by J. M. W. Turner, 1829, oil on canvas. A serene and ethereal landscape painting depicting a glowing golden sunburst shining down upon a peaceful valley below, with two figures in the foreground looking on in wonder. The painting conveys a sense of hope and possibility, as the viewer gazes upon a bright future full of potential.
"I know the plans I have for you" (Jer 29:11)
"The Lord's Plans" by J. M. W. Turner, 1829, oil on canvas. A serene and ethereal landscape painting depicting a glowing golden sunburst shining down upon a peaceful valley below, with two figures in the foreground looking on in wonder. The painting conveys a sense of hope and possibility, as the viewer gazes upon a bright future full of potential.
"I know the plans I have for you" (Jer 29:11)
"The Lord's Plans" by J. M. W. Turner, 1829, oil on canvas. A serene and ethereal landscape painting depicting a glowing golden sunburst shining down upon a peaceful valley below, with two figures in the foreground looking on in wonder. The painting conveys a sense of hope and possibility, as the viewer gazes upon a bright future full of potential.
"I know the plans I have for you" (Jer 29:11)
"The Lord's Plans" by J. M. W. Turner, 1829, oil on canvas. A serene and ethereal landscape painting depicting a glowing golden sunburst shining down upon a peaceful valley below, with two figures in the foreground looking on in wonder. The painting conveys a sense of hope and possibility, as the viewer gazes upon a bright future full of potential.
"I know the plans I have for you" (Jer 29:11)
The Prodigal Son by Wangechi Mutu. A modern interpretation of the prodigal son story that incorporates elements of the Kenyan coast, Mutu creates a vivid and colorful work that speaks to the beauty and danger of recklessness.
Jonah flees (Jonah 1:3)
The Prodigal Son by Wangechi Mutu. A modern interpretation of the prodigal son story that incorporates elements of the Kenyan coast, Mutu creates a vivid and colorful work that speaks to the beauty and danger of recklessness.
Jonah flees (Jonah 1:3)
Käthe Kollwitz, "The Millstone" etching, 1898. This painting shows a millstone sinking into the sea, with the sky and water around it taking on a threatening, dark quality.
A fish swallows Jonah (Jonah 1:17)
The Prodigal Son by Wangechi Mutu. A modern interpretation of the prodigal son story that incorporates elements of the Kenyan coast, Mutu creates a vivid and colorful work that speaks to the beauty and danger of recklessness.
Jonah returns to land (Jonah 2:10)
The Prodigal Son by Wangechi Mutu. A modern interpretation of the prodigal son story that incorporates elements of the Kenyan coast, Mutu creates a vivid and colorful work that speaks to the beauty and danger of recklessness.
Jonah returns to land (Jonah 2:10)
The family tree of Jesus in the minimalist style of Edward Tufte (2015).
Genealogy of Jesus (Matt 1:1–17)
A pearl in an oyster. Stained glass window from Chartres Cathedral.
The pearl of great price (Matt 13:45–46)
A portrait of a man holding a large and valuable pearl while examining it. His face expresses delight. 4K digital art, 2022.
The pearl of great price (Matt 13:45–46)
A portrait of a man holding a large and valuable pearl while examining it. His face expresses delight. 4K digital art, 2022.
The pearl of great price (Matt 13:45–46)
A portrait of a man holding a large and valuable pearl while examining it. His face expresses delight. 4K digital art, 2022.
The pearl of great price (Matt 13:45–46)
"The Deliverer" by Henry Ossawa Tanner, 1898. Oil on canvas. This painting features a person rescuing another person from a shipwreck. The first person represents the idea of deliverance from danger.
Jesus walks on water (Matt 14:22–33)
"The Vineyard", 2017, watercolor painting. This painting depicts a vineyard with a group of people working in it and scheming to overthrow the vineyard owner.
The workers in the vineyard (Matt 20:1–16)
"The Vineyard", 2017, watercolor painting. This painting depicts a vineyard with a group of people working in it and scheming to overthrow the vineyard owner.
The workers in the vineyard (Matt 20:1–16)
"The Vineyard", 2017, watercolor painting. This painting depicts a vineyard with a group of people working in it and scheming to overthrow the vineyard owner.
The workers in the vineyard (Matt 20:1–16)
"The Vineyard", 2017, watercolor painting. This painting depicts a vineyard with a group of people working in it and scheming to overthrow the vineyard owner.
The workers in the vineyard (Matt 20:1–16)
A massive carving of human hands clasped in prayer carved into the side of a mountain, projecting both strength and dependence on God. Photo taken from a distance, emphasizing the size of mountain, with small trees in the foreground. In the style of Gutzon Borglum.
"If you say to this mountain" (Matt 21:21)
The Parable of the Ten Minas, 2016, digital art. This work depicts the parable of the ten minas in a vivid and intense color palette. The central figure is a powerful and regal-looking man, surrounded by ten smaller figures. The overall composition conveys a sense of movement and energy, as the figures seem to be in the midst of a lively discussion or debate.
The sheep and the goats (Matt 25:31–46)
The Parable of the Ten Minas, 2016, digital art. This work depicts the parable of the ten minas in a vivid and intense color palette. The central figure is a powerful and regal-looking man, surrounded by ten smaller figures. The overall composition conveys a sense of movement and energy, as the figures seem to be in the midst of a lively discussion or debate.
The sheep and the goats (Matt 25:31–46)
"Betrayal" by Kazimir Malevich (1915), gouache on paper. A Cubist painting with Judas, holding a dagger behind his back, drawing close to Jesus.
Judas regrets betraying Jesus (Matt 27:3–10)
"Pilate Washes His Hands" by Portugese painter Vieira da Silva. 1949. Oil on canvas. From the perspective of looking down at Pilate from above, as he washes his hands in a basin in sentencing Jesus.
Pilate washes his hands (Matt 27:24)
"Give to God What is God's", 2012, mixed media.  A mixed media painting on a wood panel, depicting a woman standing in a field with her arms outstretched, offering the sky and the earth to God.
Women observe Jesus' crucifixion (Matt 27:55–56)
The angel Gabriel appears to the priest Zechariah, who is burning incense. In the style of Georges Braque.
Gabriel appears to Zechariah (Luke 1:5–22)
A glowing man, Gabriel, appears to Mary, who is surprised and kneeling. Oil painting in the style of John William Waterhouse.
Gabriel appears to Mary (Luke 1:25–38)
Two women, one old and one young, meet and hug. A Barcelona mosaic in the style of Anotni Gaudi.
Mary and Elizabeth embrace (Luke 1:39–45)
Two women, one old and one young, meet and hug. A Barcelona mosaic in the style of Anotni Gaudi.
Mary and Elizabeth embrace (Luke 1:39–45)
Two women, one old and one young, meet and hug. A Barcelona mosaic in the style of Anotni Gaudi.
Mary and Elizabeth embrace (Luke 1:39–45)
Poor people dressed in gray clothes are gathered around a table filled with colorful foods. Outside, people in bright clothes look longingly through the window. In the style of French impressionists.
"He has filled the hungry with good things but has sent the rich away empty" (Luke 1:53)
Poor people dressed in gray clothes are gathered around a table filled with colorful foods. Outside, people in bright clothes look longingly through the window. In the style of French impressionists. EDIT: People in bright clothes walk by longingly outside the window.
"He has filled the hungry with good things but has sent the rich away empty" (Luke 1:53)
A playful and whimsical take on the birth of John the Baptist, with depictions of animals and nature alongside the human characters. Art direction could be inspired by children's book illustrations, with a focus on softer colors and charming details. In the style of Quentin Blake.
Birth of John the Baptist (Luke 1:57–80)
A playful and whimsical take on the birth of John the Baptist, with depictions of animals and nature alongside the human characters. Art direction could be inspired by children's book illustrations, with a focus on softer colors and charming details. In the style of Quentin Blake.
Birth of John the Baptist (Luke 1:57–80)
A playful and whimsical take on the birth of John the Baptist, with depictions of animals and nature alongside the human characters. Art direction could be inspired by children's book illustrations, with a focus on softer colors and charming details. In the style of Quentin Blake.
Birth of John the Baptist (Luke 1:57–80)
"The Journey to Bethlehem" by Dutch Golden Age painter Pieter Bruegel the Elder – This painting could depict the long and arduous journey that Mary and Joseph took to Bethlehem, with the stable and Nativity scene in the distance. Pieter Bruegel the Elder was known for his detailed and realistic portrayals of peasant life, so this would be a perfect artist to capture the scene.
Mary and Joseph travel to Bethlehem (Luke 2:4–5)
Mary and Joseph are small figures walking to an ancient city in a hilly and shrublike landscape. Oil painting in the style of Andrew Wyeth.
Mary and Joseph travel to Bethlehem (Luke 2:4–5)
Mary and Joseph are small figures walking to an ancient city in a hilly and shrublike landscape. Oil painting in the style of Andrew Wyeth.
Mary and Joseph travel to Bethlehem (Luke 2:4–5)
Mary and Joseph are small figures walking to an ancient city in a hilly and shrublike landscape. Oil painting in the style of Andrew Wyeth.
Mary and Joseph travel to Bethlehem (Luke 2:4–5)
Mary and Joseph are small figures walking to an ancient city in a hilly and shrublike landscape. Oil painting in the style of Andrew Wyeth.
Mary and Joseph travel to Bethlehem (Luke 2:4–5)
Mary and Joseph are small figures walking to an ancient city in a hilly and shrublike landscape. Oil painting in the style of Andrew Wyeth.
Mary and Joseph travel to Bethlehem (Luke 2:4–5)
Mary and Joseph are small figures walking to an ancient city in a hilly and shrublike landscape. Oil painting in the style of Andrew Wyeth.
Mary and Joseph travel to Bethlehem (Luke 2:4–5)
A modernist painting by Pablo Picasso of the Mary and Jesus in the manger. The painting is in Picasso's Cubist style, with bold colors and abstract forms.
Birth of Christ (Luke 2:6–7)
A modernist painting by Pablo Picasso of the Mary and Jesus in the manger. The painting is in Picasso's Cubist style, with bold colors and abstract forms.
Birth of Christ (Luke 2:6–7)
A 16-bit videogame rendering of the Mary, Joseph, and and baby Jesus in the manger.
Birth of Christ (Luke 2:6–7)
A 16-bit videogame rendering of the Mary, Joseph, and and baby Jesus in the manger.
Birth of Christ (Luke 2:6–7)
A 16-bit videogame rendering of the Mary, Joseph, and and baby Jesus in the manger.
Birth of Christ (Luke 2:6–7)
A 16-bit videogame rendering of the Mary, Joseph, and and baby Jesus in the manger.
Birth of Christ (Luke 2:6–7)
A 16-bit videogame rendering of the Mary, Joseph, and and baby Jesus in the manger.
Birth of Christ (Luke 2:6–7)
Mary, Joseph, and Baby Jesus. Pop art style in the style of Roy Lichtenstein.
Birth of Christ (Luke 2:6–7)
Mary giving birth to Christ, in the style of 1950s Soviet propaganda.
Birth of Christ (Luke 2:6–7)
Mary giving birth to Christ, in the style of 1950s Soviet propaganda.
Birth of Christ (Luke 2:6–7)
A grandiose oil painting in the style of 17th century Dutch artist Peter Paul Rubens, depicting a bright and ethereal night sky filled with angels who are announcing the birth of Jesus to shepherds.
Angels announce the birth of Christ to the shepherds (Luke 2:8–15)
A grandiose oil painting in the style of 17th century Dutch artist Peter Paul Rubens, depicting a bright and ethereal night sky filled with angels who are announcing the birth of Jesus to shepherds.
Angels announce the birth of Christ to the shepherds (Luke 2:8–15)
A grandiose oil painting in the style of 17th century Dutch artist Peter Paul Rubens, depicting a bright and ethereal night sky filled with angels who are announcing the birth of Jesus to shepherds.
Angels announce the birth of Christ to the shepherds (Luke 2:8–15)
A grandiose oil painting in the style of 17th century Dutch artist Peter Paul Rubens, depicting a bright and ethereal night sky filled with angels who are announcing the birth of Jesus to shepherds.
Angels announce the birth of Christ to the shepherds (Luke 2:8–15)
A stained glass window in the style of Louis Comfort Tiffany, depicting the moment when the angels first appear to the shepherds, with the light of the rising sun shining through.
Angels announce the birth of Christ to the shepherds (Luke 2:8–15)
A stained glass window in the style of Louis Comfort Tiffany, depicting the moment when the angels first appear to the shepherds, with the light of the rising sun shining through.
Angels announce the birth of Christ to the shepherds (Luke 2:8–15)
Oil painting of angels announcing the birth of Jesus to shepherds at night in a field with sheep
Angels announce the birth of Christ to the shepherds (Luke 2:8–15)
Oil painting of angels announcing the birth of Jesus to shepherds at night in a field with sheep
Angels announce the birth of Christ to the shepherds (Luke 2:8–15)
Simeon singing about the infant Jesus in a temple, with Mary and Joseph looking on. In the style of Philipp Otto Runge.
Simeon and Anna in the Temple (Luke 2:22–38)
Simeon singing about the infant Jesus in a temple, with Mary and Joseph looking on. A mosaic in the style of Antoni Gaudí.
Simeon and Anna in the Temple (Luke 2:22–38)
An old man, Simeon, singing about the baby Jesus in a temple. A minimalist painting in the style of De Stijl.
Simeon and Anna in the Temple (Luke 2:22–38)
An old man, Simeon, singing about the baby Jesus in the temple. A minimalist painting in the style of De Stijl.
Simeon and Anna in the Temple (Luke 2:22–38)
An old man, Simeon, singing about the baby Jesus in the temple. A minimalist painting in the style of De Stijl.
Simeon and Anna in the Temple (Luke 2:22–38)
An old man, Simeon, singing about the baby Jesus in the temple. A minimalist painting in the style of De Stijl.
Simeon and Anna in the Temple (Luke 2:22–38)
An old woman, Anna, excitedly telling people about the baby Jesus in the temple. A painting in the style of Matisse.
Simeon and Anna in the Temple (Luke 2:22–38)
An old woman, Anna, excitedly telling people about the baby Jesus in the temple. A painting in the style of Matisse.
Simeon and Anna in the Temple (Luke 2:22–38)
An old woman, Anna, excitedly telling people about the baby Jesus in the temple. A painting in the style of Matisse.
Simeon and Anna in the Temple (Luke 2:22–38)
Simeon singing about the infant Jesus in a temple, with Mary and Joseph looking on. A mosaic in the style of Antoni Gaudí.
The boy Jesus at the Temple (Luke 2:41–50)
The boy Jesus teaching old men in the Temple. In the style of French Impressionist Claude Monet, depicting the light streaming through the windows of the Temple onto the boy Jesus.
The boy Jesus at the Temple (Luke 2:41–50)
The boy Jesus teaching old men in the Temple. In the style of French Impressionist Claude Monet, depicting the light streaming through the windows of the Temple onto the boy Jesus.
The boy Jesus at the Temple (Luke 2:41–50)
The boy Jesus teaching old men in the Temple. In the style of French Impressionist Claude Monet, depicting the light streaming through the windows of the Temple onto the boy Jesus.
The boy Jesus at the Temple (Luke 2:41–50)
The boy Jesus teaching old men in the Temple. In the style of French Impressionist Claude Monet, depicting the light streaming through the windows of the Temple onto the boy Jesus.
The boy Jesus at the Temple (Luke 2:41–50)
John the Baptist preaching in the desert by a river, with a large crowd of people gathered around him and an ancient city in the distance. Painting in the style of Francisco de Goya.
John the Baptist preaching to the crowds (Luke 3:1–18)
John the Baptist preaching in the desert by a river, with a large crowd of people gathered around him and an ancient city in the distance. Painting in the style of Francisco de Goya.
John the Baptist preaching to the crowds (Luke 3:1–18)
John the Baptist preaching in the desert by a river, with a large crowd of people gathered around him and an ancient city in the distance. Painting in the style of Francisco de Goya.
John the Baptist preaching to the crowds (Luke 3:1–18)
A marble sculpture of John the Baptist saying, "Out of these stones God can raise up children for Abraham" surrounded by smaller sculptures of children. Sculpture in the style of Picasso.
"Out of these stones, God can raise up children for Abraham" (Luke 3:8)
A marble sculpture of John the Baptist saying, "Out of these stones God can raise up children for Abraham" surrounded by smaller sculptures of children. Sculpture in the style of Picasso.
"Out of these stones, God can raise up children for Abraham" (Luke 3:8)
A marble sculpture of John the Baptist saying, "Out of these stones God can raise up children for Abraham" surrounded by small stones. Sculpture in the style of Rodin.
"Out of these stones, God can raise up children for Abraham" (Luke 3:8)
A marble sculpture of John the Baptist saying, "Out of these stones God can raise up children for Abraham" surrounded by small stones. Sculpture in the style of Rodin.
"Out of these stones, God can raise up children for Abraham" (Luke 3:8)
A marble sculpture of John the Baptist saying, "Out of these stones God can raise up children for Abraham" surrounded by small stones. Sculpture in the style of Rodin.
"Out of these stones, God can raise up children for Abraham" (Luke 3:8)
"The Root of All Evil" by Damien Hirst: A conceptual work consisting of a large axe suspended in a glass case, representing the destructive power of sin.
"The ax is at the root of the tree" (Luke 3:9)
A glass sculpture representing the baptism of Jesus, with a dove and a voice from heaven. In the style of Chihuly.
Baptism of Christ (Luke 3:21–22)
A glass sculpture representing the baptism of Jesus, with a dove and a voice from heaven. In the style of Chihuly.
Baptism of Christ (Luke 3:21–22)
An aerial view of a river in a desert with a ray of light shining down on it from the sky, representing the baptism of Jesus. Realistic aerial photo.
Baptism of Christ (Luke 3:21–22)
A sculpture made of glass beads representing the baptism of Jesus in a river, with a dove and a voice from heaven.
Baptism of Christ (Luke 3:21–22)
A modernist painting by Wassily Kandinsky, depicting Jesus as he overcomes the temptation to turn stones into bread.
"Man shall not live on bread alone" (Luke 4:3–4)
A modernist painting by Wassily Kandinsky, depicting Jesus as he overcomes the temptation to turn stones into bread.
"Man shall not live on bread alone" (Luke 4:3–4)
A painting in the style of the American Abstract Expressionists depicting Jesus being tempted by an amorphous and fiery being offering him a globe of the world.
"Worship the Lord your God and serve him only" (Luke 4:5–8)
A painting in the style of the American Abstract Expressionists depicting Jesus being tempted by an amorphous and fiery being offering him a globe of the world.
"Worship the Lord your God and serve him only" (Luke 4:5–8)
A painting in the style of the American Abstract Expressionists depicting Jesus being tempted by an amorphous and fiery being offering him a globe of the world.
"Worship the Lord your God and serve him only" (Luke 4:5–8)
A realistic oil painting with two crowns: a golden crown contrasting with a crown of thorns in a desert.
"Worship the Lord your God and serve him only" (Luke 4:5–8)
A photo with two crowns: a golden crown on a shining, golden road contrasting with a crown of thorns in a desert.
"Worship the Lord your God and serve him only" (Luke 4:5–8)
A photograph of the temple in Jerusalem, with the cityscape in the background. In the foreground, there should be a figure of Jesus, his back to the viewer, looking out over the city. The photograph should have a dark and moody feeling, conveying the feeling of temptation and danger. The artist to emulate for this photograph is Ansel Adams.
"Do not put the Lord your God to the test" (Luke 4:9–12)
A photograph of the temple in Jerusalem, with the cityscape in the background. In the foreground, there should be a figure of Jesus, his back to the viewer, looking out over the city. The photograph should have a dark and moody feeling, conveying the feeling of temptation and danger. The artist to emulate for this photograph is Ansel Adams.
"Do not put the Lord your God to the test" (Luke 4:9–12)
An angry crowd pursues Jesus to the edge of a desert cliff. Seen from below at a distance, an award-winning photo captures the tension and drama.
The people of Nazareth pursue Jesus to a cliff (Luke 4:28–30)
An angry crowd pursues Jesus to a desert cliff, while he walks calmly away from them. An illustration in the style of Beatrix Potter.
The people of Nazareth pursue Jesus to a cliff (Luke 4:28–30)
An angry crowd pursues Jesus to a desert cliff, while he walks calmly away from them. An illustration in the style of Beatrix Potter.
The people of Nazareth pursue Jesus to a cliff (Luke 4:28–30)
A man in an ancient Roman robe lies facedown on the dusty ground as a dark, angry cloud rises out of him into the sky. Oil painting in the style of Hieronymus Bosch.
Jesus casts out a demon (Luke 4:31–37)
A man in an ancient Roman robe lies facedown on the dusty ground as a dark, angry cloud rises out of him into the sky. Oil painting in the style of Hieronymus Bosch.
Jesus casts out a demon (Luke 4:31–37)
Jesus healing crowds of people at sunset. A painting in the style of Claude Monet, with Jesus in the center surrounded by a crowd of people, all with different facial expressions and colors in their clothes. The background is a beautiful sunset over a lake or field.
Jesus heals many (Luke 4:38–41)
Jesus healing crowds of people at sunset. A painting in the style of Claude Monet, with Jesus in the center surrounded by a crowd of people, all with different facial expressions and colors in their clothes. The background is a beautiful sunset over a lake or field.
Jesus heals many (Luke 4:38–41)
A painting in the style of Frida Kahlo, with Jesus in the center of a group of people, all with different colors in their clothes. The background could be a beautiful sunset or a Mexican market scene.
Jesus heals many (Luke 4:38–41)
A scene from the perspective of a fish looking up at an ancient fishing boat with fishermen throwing a net. In the distance on the shore is Jesus. 3D render in Unreal Engine.
Jesus calls his first disciples (Luke 5:1–11)
A scene from the perspective of a fish looking up at an ancient fishing boat with fishermen throwing a net. In the distance on the shore is Jesus. 3D render in Unreal Engine.
Jesus calls his first disciples (Luke 5:1–11)
A scene from the perspective of a fish looking up at an ancient fishing boat with fishermen throwing a net. In the distance on the shore is Jesus. 3D render in Unreal Engine.
Jesus calls his first disciples (Luke 5:1–11)
A scene from the perspective of a fish looking up at an ancient fishing boat with fishermen throwing a net. In the distance on the shore is Jesus. 3D render in Unreal Engine.
Jesus calls his first disciples (Luke 5:1–11)
Jesus on the shore of the Sea of Galilee telling two fishermen in an ancient fishing boat to cast nets into the water to catch many fish. In the style of Eric Carle.
Jesus calls his first disciples (Luke 5:1–11)
Jesus on the shore of the Sea of Galilee telling two fishermen in an ancient fishing boat to cast nets into the water to catch many fish. In the style of Eric Carle.
Jesus calls his first disciples (Luke 5:1–11)
Jesus on the shore of the Sea of Galilee telling two fishermen in an ancient fishing boat to cast nets into the water to catch many fish. In the style of Eric Carle.
Jesus calls his first disciples (Luke 5:1–11)
A whimsical and childlike portrayal of Jesus and the disciples as fishermen, with fish flying all around them. Medium: Gouache painting. Artist: Maxfield Parrish.
Jesus calls his first disciples (Luke 5:1–11)
Jesus and his disciples are shown as fishermen casting their nets. The painting is done in a folk art style and is very brightly colored. Medium: Oil on wood panel. Artist: Grandma Moses.
Jesus calls his first disciples (Luke 5:1–11)
Jesus and his disciples are shown as fishermen casting their nets. The painting is done in a folk art style and is very brightly colored. Medium: Oil on wood panel. Artist: Grandma Moses.
Jesus calls his first disciples (Luke 5:1–11)
Use a op art style with geometric shapes to depict Jesus healing a man with a skin disease. In the style of Bridget Riley.
Jesus heals a man with leprosy (Luke 5:12–16)
Use a op art style with geometric shapes to depict Jesus healing a man with a skin disease. In the style of Bridget Riley.
Jesus heals a man with leprosy (Luke 5:12–16)
A group of friends standing on a thatched roof with a man lying on a mat through the roof to Jesus. In the style of Arthur Rackham.
Jesus heals a paralyzed man lowered through the roof (Luke 5:17–26)
Looking up at a group of young men in robes looking through a hole in a thatched roof. In the style of Quentin Blake.
Jesus heals a paralyzed man lowered through the roof (Luke 5:17–26)
Looking up at a group of young men in robes looking through a hole in a thatched roof. In the style of Quentin Blake.
Jesus heals a paralyzed man lowered through the roof (Luke 5:17–26)
"Reclaimed": A mixed media sculpture of ten men, each with a different arm or leg missing, being embraced by Jesus. The figures would be made of recycled materials such as metal, wood, and fabric. Artist: Xaviera Simmons
Jesus heals a paralyzed man lowered through the roof (Luke 5:17–26)
Jesus eats at a large banquet with rich people while a group of grumpy men look on from the side. Oil painting in the style of Tintoretto.
Jesus eats with tax collectors and sinners (Luke 5:29–32)
A painting by American artist Edward Hopper, in which he uses light and color to depict the story of Jesus eating with tax collectors and sinners in a new and modern way.
Jesus eats with tax collectors and sinners (Luke 5:29–32)
The disciples of Jesus picking wheat along the edge of a field of wheat. Bread sculpture.
Jesus' disciples pick wheat on the Sabbath (Luke 6:1–5)
The disciples of Jesus picking wheat along the edge of a field of wheat. Bread sculpture.
Jesus' disciples pick wheat on the Sabbath (Luke 6:1–5)
Jesus heals a man's hand while a crowd of people look on. Origami sculpture.
Jesus heals a man's hand on the Sabbath (Luke 6:6–10)
Jesus heals a man's hand while a crowd of people look on. Play-doh sculpture.
Jesus heals a man's hand on the Sabbath (Luke 6:6–10)
A painting in the style of Vincent van Gogh, depicting a poor person in rags lying on a street, with a halo around his head to represent their status as blessed in the eyes of God.
"Blessed are you who are poor" (Luke 6:20)
A painting in the style of Vincent van Gogh, depicting a poor person in rags lying on a street, with a halo around his head to represent their status as blessed in the eyes of God.
"Blessed are you who are poor" (Luke 6:20)
A painting in the style of Vincent van Gogh, depicting a poor person in rags lying on a street, with a halo around his head to represent their status as blessed in the eyes of God.
"Blessed are you who are poor" (Luke 6:20)
A mixed media piece with different elements representing hunger and satisfaction. The piece could include items like a empty plate, a spoon, and a knife, as well as a full cup or bowl.
"Blessed are you who hunger now, for you will be satisfied" (Luke 6:21)
A crying woman whose tears are smiling. Painting in watercolor and ink.
"Blessed are you who weep now, for you will laugh" (Luke 6:21)
A crying woman whose tears are visible. Her mouth is smiling, indicating hope. Amigurumi figure.
"Blessed are you who weep now, for you will laugh" (Luke 6:21)
A group of people excluding a dot from their circle. The dot has a look of pain and hurt on their face. In the style of Mondrian.
"Blessed are you when people hate you" (Luke 6:22)
A group of people excluding a dot from their circle. The dot has a look of pain and hurt on their face. In the style of Mondrian.
"Blessed are you when people hate you" (Luke 6:22)
A group of people excluding a dot from their circle. The dot has a look of pain and hurt on their face. In the style of Mondrian.
"Blessed are you when people hate you" (Luke 6:22)
"Golden Cages" by Ai Weiwei: An installation of golden cages that represent the imprisoning effects of wealth.
"Woe to you who are rich" (Luke 6:24)
A long dining table set with an opulent feast, surrounded by empty chairs and gaunt figures reaching vainly for the food. Oil painting in the style of Edvard Munch.
"Woe to you who are well fed now" (Luke 6:25)
A long dining table set with an opulent feast, surrounded by empty chairs and gaunt figures reaching vainly for the food. Oil painting in the style of Edvard Munch.
"Woe to you who are well fed now" (Luke 6:25)
A painting depicting a laughing figure with a sad, contorted face beneath the mask of laughter. Cubist painting.
"Woe to you who laugh now" (Luke 6:25)
A painting depicting a laughing figure with a sad, contorted face beneath the mask of laughter. Cubist painting.
"Woe to you who laugh now" (Luke 6:25)
A painting in the Bauhaus style of an unhappy well-dressed man or woman surrounded by a crowd of happy, fawning admirers who are applauding.
"Woe to you when everyone speaks well of you" (Luke 6:26)
A coat and shirt being donated to a homeless person. In the style of Art Nouveau.
"If someone takes your coat, do not withhold your shirt from them" (Luke 6:29)
A coat and shirt being donated to a homeless person. In the style of Art Nouveau.
"If someone takes your coat, do not withhold your shirt from them" (Luke 6:29)
A coat and shirt being donated to a homeless person. In the style of Art Nouveau.
"If someone takes your coat, do not withhold your shirt from them" (Luke 6:29)
Amigurumi showing mercy.
"Be merciful, just as your Father is merciful" (Luke 6:36)
"Be Merciful" by Jean-Michel Basquiat. Medium: Painting. Direction: Jean-Michel Basquiat was known for his Neo-Expressionist style of painting which used bright colors and bold lines. For this painting, he could depict a figure with their arms outstretched, reaching to forgive someone..
"Be merciful, just as your Father is merciful" (Luke 6:36)
35mm photo of a face with eyes covered by a plank of wood. Only the bottom part of the face is visible.
"First take the plank out of your eye" (Luke 6:41–42)
A closeup photo a plank of wood with an eyeball symbol burned into it. Macro lens (Sigma 105mm F2.8).
"First take the plank out of your eye" (Luke 6:41–42)
A closeup photo a plank of wood with an eyeball symbol burned into it. Macro lens (Sigma 105mm F2.8).
"First take the plank out of your eye" (Luke 6:41–42)
A fig growing on a thornbush. Scientific cutaway illustration from a 19th-century biology textbook.
"People do not pick figs from thornbushes" (Luke 6:44)
A fig growing on a thornbush. Scientific cutaway illustration from a 19th-century biology textbook.
"People do not pick figs from thornbushes" (Luke 6:44)
A sculpture of a human head, with the mouth open and spilling out a waterfall of words. The words are made up of heavy metal type, weighing down the head. Think playful and witty, like a work by Jeff Koons.
"For the mouth speaks what the heart is full of" (Luke 6:45)
A large painting of a rock with a small house on it and turbulent water around it. A bright, cheery palette to represent hope. Painting in the style of Bob Ross.
The house built on the rock (Luke 6:48)
A large painting of a rock with a small house on it and turbulent water around it. A bright, cheery palette to represent hope. Painting in the style of Bob Ross.
The house built on the rock (Luke 6:48)
A large painting of a rock with a small house on it and turbulent water around it. A bright, cheery palette to represent hope. Painting in the style of Bob Ross.
The house built on the rock (Luke 6:48)
A stone with a house carved on it, with other stones in the blurred background. Macro lens photo.
The house built on the rock (Luke 6:48)
A stone with a house carved on it, with other stones in the blurred background. Macro lens photo.
The house built on the rock (Luke 6:48)
A sandcastle shaped like a house on the beach with waves about to reach it.
The house built on the sand (Luke 6:49)
A sandcastle shaped like a house on the beach with waves about to reach it.
The house built on the sand (Luke 6:49)
A lifesize house made out of sand with waves about to reach it with a man just visible inside it. Photo taken with a telephoto lens.
The house built on the sand (Luke 6:49)
A lifesize house made out of sand with waves about to reach it with a man just visible inside it. Photo taken with a telephoto lens.
The house built on the sand (Luke 6:49)
A Pop Art painting in the style of Andy Warhol, with the image of the centurion printed in a bright, bold color scheme and looking from his house at Jesus in the distance.
The faith of the centurion (Luke 7:1–10)
A tilt-shift photo from above showing an ancient stone house in a desert with two people in Roman robes talking to someone in front of the house.
The faith of the centurion (Luke 7:1–10)
"Nain" by Pablo Picasso, 1903, Spanish Cubist painting of Jesus raising the son of the widow of Nain.
Jesus raises a widow's son (Luke 7:11–17)
"Nain" by Pablo Picasso, 1903, Spanish Cubist painting of Jesus raising the son of the widow of Nain.
Jesus raises a widow's son (Luke 7:11–17)
"Nain" by Pablo Picasso, 1903, Spanish Cubist painting of Jesus raising the son of the widow of Nain.
Jesus raises a widow's son (Luke 7:11–17)
"The Widow's Son" by Henry Ossawa Tanner, 1896, American Realist painting of Jesus raising the teenage son of the widow of Nain
Jesus raises a widow's son (Luke 7:11–17)
"The Widow's Son" by Henry Ossawa Tanner, 1896, American Realist painting of Jesus raising the teenage son of the widow of Nain
Jesus raises a widow's son (Luke 7:11–17)
"The Widow's Son" by Henry Ossawa Tanner, 1896, American Realist painting of Jesus raising the teenage son of the widow of Nain
Jesus raises a widow's son (Luke 7:11–17)
One group of children plays flutes. Another group of children sings. Set in an ancient forum. Illustration in the style of Richard Scarry.
"We played the pipe for you, and you did not dance" (Luke 7:32)
"The Anointing of Jesus" by Salvador Dali. A Surrealist work, in which the woman from the story is shown anointing the feet of Jesus with oil, but in a dreamlike or fantastical setting. Painted in oil on canvas, this could be a large work, with an ethereal quality.
A sinful woman anoints Jesus (Luke 7:36–50)
"The Anointing of Jesus" by Salvador Dali. A Surrealist work, in which the woman from the story is shown anointing the feet of Jesus with oil, but in a dreamlike or fantastical setting. Painted in oil on canvas, this could be a large work, with an ethereal quality.
A sinful woman anoints Jesus (Luke 7:36–50)
Olive oil is pouring out of an alabaster jar onto a man's foot wearing leather sandals on the dirt floor of a stone house in ancient Rome. Pastel drawing.
A sinful woman anoints Jesus (Luke 7:36–50)
"The Last Supper" by Julie Mehretu, 2009, acrylic on canvas. This painting focuses on the women present at the Last Supper, rather than Jesus and his disciples.
A sinful woman anoints Jesus (Luke 7:36–50)
A field of flowers with a figure in the distance walking away from the viewer, representing the sower spreading the word of God. Medium: acrylic painting. Artist: Georgia O'Keeffe.
The parable of the sower (Luke 8:1–15)
A figure walking along a path with a bag of seed over his shoulder, representing the sower spreading the word of God. Medium: etching. Artist: William Blake.
The parable of the sower (Luke 8:1–15)
A figure walking along a path with a bag of seed over his shoulder, representing the sower spreading the word of God. Medium: etching. Artist: William Blake.
The parable of the sower (Luke 8:1–15)
An light shining under a bed in a bedroom. Oil painting in the style of Thomas Kinkade.
A lamp on a stand (Luke 8:16)
An overturned, upside-down clay bowl on a table with light peeking from it. The light under the bowl is the only source of light. Photo in a dark room with a wide-angle lens.
A lamp on a stand (Luke 8:16)
A dimly lit lamp with a dark lampshade in a dark room. The light from the lamp is the only visible light. Wide-angle lens photo.
A lamp on a stand (Luke 8:16)
A colorful abstract painting inspired by stained glass windows, depicting Mary and her sons in geometric shapes as they see Jesus through a window inside a house. Modernist painting in the style of Carlos Cruz-Diez.
Jesus' mother and brothers (Luke 8:19–21)
"The Absent Jesus" by Mark Rothko. A somber painting of Jesus' family waiting for him, with an empty chair in the center signifying his absence. Rothko's use of color and light create a sense of melancholy and longing.
Jesus' mother and brothers (Luke 8:19–21)
Jesus Calms the Storm in a large fishing boat with his disciples looking on. Oil painting in the style of stormy seascapes by J.M.W. Turner.
Jesus calms the storm (Luke 8:22–25)
Jesus Calms the Storm in a large fishing boat with his disciples looking on. Woodblock print by Katsushika Hokusai.
Jesus calms the storm (Luke 8:22–25)
Jesus Calms the Storm in a large fishing boat with his disciples looking on. Woodblock print by Katsushika Hokusai.
Jesus calms the storm (Luke 8:22–25)
Jesus Calms the Storm in a large fishing boat with his disciples looking on. Digital painting by Expressionist artist Wassily Kandinsky
Jesus calms the storm (Luke 8:22–25)
Jesus Calms the Storm in a large fishing boat with his disciples looking on. Digital painting by Expressionist artist Wassily Kandinsky
Jesus calms the storm (Luke 8:22–25)
Jesus Calms the Storm in a large fishing boat with his disciples looking on. Digital painting by Expressionist artist Wassily Kandinsky
Jesus calms the storm (Luke 8:22–25)
Jesus Calms the Storm in a large fishing boat with his disciples looking on. Digital painting by Expressionist artist Wassily Kandinsky
Jesus calms the storm (Luke 8:22–25)
A herd of pigs running toward a cliff over a lake. In the style of Richard Scarry.
Jesus sends demons into a herd of pigs (Luke 8:26–39)
A herd of pigs running toward a cliff over a lake. In the style of Richard Scarry.
Jesus sends demons into a herd of pigs (Luke 8:26–39)
A herd of pigs running toward a cliff over a lake. In the style of Richard Scarry.
Jesus sends demons into a herd of pigs (Luke 8:26–39)
"The Sea of Pigs" by Mark Rothko: A large, abstract painting in shades of pink, blue, and green, depicting the pigs running on a cliff overlooking a lake.
Jesus sends demons into a herd of pigs (Luke 8:26–39)
"The Sea of Pigs" by Mark Rothko: A large, abstract painting in shades of pink, blue, and green, depicting the pigs running on a cliff overlooking a lake.
Jesus sends demons into a herd of pigs (Luke 8:26–39)
"The Sea of Pigs" by Mark Rothko: A large, abstract painting in shades of pink, blue, and green, depicting the pigs running on a cliff overlooking a lake.
Jesus sends demons into a herd of pigs (Luke 8:26–39)
"The Sea of Pigs" by Mark Rothko: A large, abstract painting in shades of pink, blue, and green, depicting the pigs running on a cliff overlooking a lake.
Jesus sends demons into a herd of pigs (Luke 8:26–39)
A painting by Margaret Keane of the healing of the woman who touched Jesus in a crowd and was healed, based on the accounts in Luke 8:40-48. Keane is known for her paintings of people with large eyes, which conveys the woman's awe and gratitude as she realizes what has happened.
Jesus heals the woman who touches him in the crowd (Luke 8:40–48)
A painting by Margaret Keane of the healing of the woman who touched Jesus in a crowd and was healed, based on the accounts in Luke 8:40-48. Keane is known for her paintings of people with large eyes, which conveys the woman's awe and gratitude as she realizes what has happened.
Jesus heals the woman who touches him in the crowd (Luke 8:40–48)
A painting by Margaret Keane of the healing of the veiled woman with brown eyes who touched Jesus in a crowd and was healed, based on the accounts in Luke 8:40-48. Keane is known for her paintings of people with large eyes, which conveys the woman's awe and gratitude as she realizes what has happened.
Jesus heals the woman who touches him in the crowd (Luke 8:40–48)
A painting by Margaret Keane of the healing of the veiled woman with brown eyes who touched Jesus in a crowd and was healed, based on the accounts in Luke 8:40-48. Keane is known for her paintings of people with large eyes, which conveys the woman's awe and gratitude as she realizes what has happened.
Jesus heals the woman who touches him in the crowd (Luke 8:40–48)
A painting by Margaret Keane of the healing of the veiled woman with brown eyes who touched Jesus in a crowd and was healed, based on the accounts in Luke 8:40-48. Keane is known for her paintings of people with large eyes, which conveys the woman's awe and gratitude as she realizes what has happened.
Jesus heals the woman who touches him in the crowd (Luke 8:40–48)
The resurrection of the daughter of Jairus, who is lying on a bed, by Jesus. In the style of the children's cartoon Teen Titans.
Jesus raises Jairus' daughter (Luke 8:49–56)
The resurrection by Jesus of Jairus' daughter, who is ill lying on a bed. Pointilist art in the style of the Georges Seurat.
Jesus raises Jairus' daughter (Luke 8:49–56)
The resurrection by Jesus of Jairus' daughter, who is ill lying on a bed. Pointilist art in the style of the Georges Seurat.
Jesus raises Jairus' daughter (Luke 8:49–56)
The resurrection by Jesus of Jairus' daughter, who is ill lying on a bed. Pointilist art in the style of the Georges Seurat.
Jesus raises Jairus' daughter (Luke 8:49–56)
"Taking the First Step" by Zhang Daqian (Chang Dai-chien): A painting of the disciples setting out on their mission, with Jesus in the background. The artist draws inspiration from the simplicity and beauty of the story
Jesus sends out the disciples (Luke 9:1–6)
"Taking the First Step" by Zhang Daqian (Chang Dai-chien): A painting of the disciples setting out on their mission, with Jesus in the background. The artist draws inspiration from the simplicity and beauty of the story
Jesus sends out the disciples (Luke 9:1–6)
"The Journey of the disciples" by Pablo Picasso: A painting depicting the disciples as they travel to spread the word of Jesus. The painting is meant to show the dedication and commitment of the disciples to their mission.
Jesus sends out the disciples (Luke 9:1–6)
"The Journey of the disciples" by Pablo Picasso: A painting depicting the disciples as they travel to spread the word of Jesus. The painting is meant to show the dedication and commitment of the disciples to their mission.
Jesus sends out the disciples (Luke 9:1–6)
"The Journey of the disciples" by Pablo Picasso: A painting depicting the disciples as they travel to spread the word of Jesus. The painting is meant to show the dedication and commitment of the disciples to their mission.
Jesus sends out the disciples (Luke 9:1–6)
"The Wondering" - A painting in the style of Edvard Munch, depicting King Herod alone in his palace, deep in thought, with a sense of dread and foreboding.
Herod wants to meet Jesus (Luke 9:7–9)
"The Wondering" - A painting in the style of Edvard Munch, depicting King Herod alone in his palace, deep in thought, with a sense of dread and foreboding.
Herod wants to meet Jesus (Luke 9:7–9)
"The Wondering" - A painting in the style of Edvard Munch, depicting King Herod alone in his palace, deep in thought, with a sense of dread and foreboding.
Herod wants to meet Jesus (Luke 9:7–9)
A detailed painting in the style of Vermeer depicting the miracle of the loaves and fishes where Jesus feeds 5,000 people with 5 loaves of bread and 2 fish.
The feeding of the 5,000 (Luke 9:10–17)
"Feeding of the 5,000:" A post-impressionist painting in the style of Paul Cezanne depicting the crowds eating bread and fish in groups on a hillside gathered around Jesus.
The feeding of the 5,000 (Luke 9:10–17)
Art Deco painter Tamara de Lempicka paints a stylized version of Jesus feeding 5,000 people on a hillside and blessing a few loaves and fish..
The feeding of the 5,000 (Luke 9:10–17)
Chinese artist Liu Xiaodong paints a contemporary version of the scene, with Jesus feeding 5,000 people on a hillside with a few loaves and fish and the disciples in the foreground and the multitude in the background.
The feeding of the 5,000 (Luke 9:10–17)
12 baskets of loaves of bread and fish, left over from Jesus feeind 5,000 people. In the style of Yayoi Kusama.
12 baskets left over from the feeding of the 5,000 (Luke 9:17)
A portrait of Peter looking up at Jesus with a dawning realization, set against a brilliant sky with light streaming down on them both. In the style of Medieval paintings of religious figures with bright auras of light.
Peter declares that Jesus is the Christ (Luke 9:19–20)
The apostle Peter looking up at Jesus with a sudden understanding, with light streaming down on them both. In the style of a Medieval illuminated manuscript like the Book of Kells.
Peter declares that Jesus is the Christ (Luke 9:19–20)
The apostle Peter looking up at Jesus with a sudden understanding, with light streaming down on them both. In the style of a Medieval illuminated manuscript like the Book of Kells.
Peter declares that Jesus is the Christ (Luke 9:19–20)
A photograph by Sebastião Salgado of a man carrying a large cross in a remote location.
"Whoever wants to be my disciple must deny himself and take up his cross daily and follow me" (Luke 9:23)
A work of land art by Andy Goldsworthy consisting of a cross made from rocks or trees being pulled by a person.
"Whoever wants to be my disciple must deny himself and take up his cross daily and follow me" (Luke 9:23)
"The Choice" by Max Beckmann. A painting with dark tones and a dramatic mood, depicting a person at a crossroads, considering which path to take.
"Whoever wants to save his life will lose it, but whoever loses his life for me will save it" (Luke 9:24)
"The Choice" by Max Beckmann. A painting with dark tones and a dramatic mood, depicting a person at a crossroads, considering which path to take.
"Whoever wants to save his life will lose it, but whoever loses his life for me will save it" (Luke 9:24)
A modern, abstract painting depicting the transfiguration of Jesus on a hilltop as a series of swirls and curves of light. In the style of Wassily Kandinsky and his revolutionary abstract paintings.
The Transfiguration (Luke 9:26–36)
A sculptural installation in the style of contemporary artist Anish Kapoor, inspired by the glowing light and bright colors of the transfiguration of Jesus on a hilltop.
The Transfiguration (Luke 9:26–36)
A bronze sculpture of Jesus in the act of transfiguration, with a halo of light around his head and rays of light emanating from his body. Artist: Donatello
The Transfiguration (Luke 9:26–36)
A glass sculpture in the style of Dale Chihuly, depicting the rays of light emanating from Jesus as he is transfigured on the mountaintop.
The Transfiguration (Luke 9:26–36)
An installation art piece in the style of contemporary artist Christo, depicting a boy on the ground being enveloped by Jesus' healing light.
Jesus heals a demon-possessed boy (Luke 9:37–43)
An installation art piece in the style of contemporary artist Christo, depicting a boy on the ground being enveloped by Jesus' healing light.
Jesus heals a demon-possessed boy (Luke 9:37–43)
A quilt depicting scenes from the stories of Jesus and children in the Bible. In the style of Faith Ringgold.
Jesus and the children (Luke 9:46–48)
A metallic sculpture in the style of contemporary artist Jeff Koons, brightly colored and featuring children climbing on and playing with a life-size statue of Jesus.
Jesus and the children (Luke 9:46–48)
"The Journey" - A landscape painting depicting the journey of Jesus and his disciples, with the scene of Jesus rebuking two of his disciples in the foreground. Painted in the style of the Hudson River School, with an expansive and detailed natural landscape.
Jesus sets out for Jerusalem (Luke 9:51)
"The Journey" - A landscape painting depicting the journey of Jesus and his disciples, with the scene of Jesus rebuking two of his disciples in the foreground. Painted in the style of the Hudson River School, with an expansive and detailed natural landscape.
Jesus sets out for Jerusalem (Luke 9:51)
"The Journey" - A landscape painting depicting the journey of Jesus and his disciples, with the scene of Jesus rebuking two of his disciples in the foreground. Painted in the style of the Hudson River School, with an expansive and detailed natural landscape.
Jesus rebukes James and John (Luke 9:54–55)
A detailed pastel drawing of a fox or bird, with looking over their shoulder at the viewer. This could be interpreted as a metaphor for how humans often forget about or ignore those who are struggling, even though they are right in front of us.
"Foxes have dens and birds have nests, but the Son of Man has no place to lay his head" (Luke 9:58)
A minimalistic painting in the style of Yves Klein depicting a blue human figure against a red background, with a fox and bird in the foreground.
"Foxes have dens and birds have nests, but the Son of Man has no place to lay his head" (Luke 9:58)
A minimalistic painting in the style of Yves Klein depicting a blue human figure against a red background, with a fox and bird in the foreground.
"Foxes have dens and birds have nests, but the Son of Man has no place to lay his head" (Luke 9:58)
"Carry On" by Vincent van Gogh: A painting of a figure walking away from a graveyard, while other figures in the background tend to the graves. The figure in the foreground is illuminated by a light from the sky, representing the hope of the kingdom of God.
"Let the dead bury their own dead, but you go and proclaim the kingdom of God" (Luke 9:60)
"Carry On" by Vincent van Gogh: A painting of a figure walking away from a graveyard, while other figures in the background tend to the graves. The figure in the foreground is illuminated by a light from the sky, representing the hope of the kingdom of God.
"Let the dead bury their own dead, but you go and proclaim the kingdom of God" (Luke 9:60)
A painting of a woman plowing a field with an ox. She is wearing a brightly colored dress, and her hair is blowing in the wind. The background is a blur of colors.  Artist: Georgia O'Keeffe  Medium: Oil Painting
"No one who puts a hand to the plow and looks back is fit for service in the kingdom of God" (Luke 9:62)
A painting of a woman plowing a field with an ox. She is wearing a brightly colored dress, and her hair is blowing in the wind. The background is a blur of colors.  Artist: Georgia O'Keeffe  Medium: Oil Painting
"No one who puts a hand to the plow and looks back is fit for service in the kingdom of God" (Luke 9:62)
A painting of a farmer plowing a field with a team of oxen, with a bright yellow sunset in the background. The farmer has a look of determination on his face, and he does not turn back to look at the viewer. Artist: Andrew Wyeth  Medium: Oil Painting
"No one who puts a hand to the plow and looks back is fit for service in the kingdom of God" (Luke 9:62)
A print of Jesus' disciples walking away from an ancient town, with the dust being caught in the wind and blowing away behind them. Lithograph in the style of Henri de Toulouse-Lautrec
Jesus sends out seventy-two disciples (Luke 10:1–20)
A painting of Jesus' disciples walking away from an ancient town, with the dust being caught in the wind and blowing away behind them. In the style of Henri de Toulouse-Lautrec
Jesus sends out seventy-two disciples (Luke 10:1–20)
"The harvest is plentiful, but the workers are few." Winslow Homer, Oil on Canvas, 1874.
"The harvest is plentiful, but the workers are few" (Luke 10:2)
"The harvest is plentiful, but the workers are few." Winslow Homer, Oil on Canvas, 1874.
"The harvest is plentiful, but the workers are few" (Luke 10:2)
"The harvest is plentiful, but the workers are few." Winslow Homer, Oil on Canvas, 1874.
"The harvest is plentiful, but the workers are few" (Luke 10:2)
"The harvest is plentiful, but the workers are few." Winslow Homer, Oil on Canvas, 1874.
"The harvest is plentiful, but the workers are few" (Luke 10:2)
"The harvest is plentiful, but the workers are few." A large field of crops to be harvested but only a few workers are visible. Winslow Homer, Oil on Canvas, 1874.
"The harvest is plentiful, but the workers are few" (Luke 10:2)
"The harvest is plentiful, but the workers are few." A large field of crops to be harvested but only a few workers are visible. Winslow Homer, Oil on Canvas, 1874.
"The harvest is plentiful, but the workers are few" (Luke 10:2)
"The harvest is plentiful, but the workers are few." A large field of crops to be harvested but only a few workers are visible. Winslow Homer, Oil on Canvas, 1874.
"The harvest is plentiful, but the workers are few" (Luke 10:2)
"The harvest is plentiful, but the workers are few." A large field of crops to be harvested but only a few workers are visible. Winslow Homer, Oil on Canvas, 1874.
"The harvest is plentiful, but the workers are few" (Luke 10:2)
A painting of a field with a mechanical plow in the foreground and a worker sitting on it. The painting is meant to capture the beauty of the field and the hard work that goes into harvest. In the style of French painter Claude Monet.
"The harvest is plentiful, but the workers are few" (Luke 10:2)
A painting of a field with a mechanical plow in the foreground and a worker sitting on it. The painting is meant to capture the beauty of the field and the hard work that goes into harvest. In the style of French painter Claude Monet.
"The harvest is plentiful, but the workers are few" (Luke 10:2)
A painting of a field with a mechanical plow in the foreground and a worker sitting on it. The painting is meant to capture the beauty of the field and the hard work that goes into harvest. In the style of French painter Claude Monet.
"The harvest is plentiful, but the workers are few" (Luke 10:2)
A painting of a field with a mechanical plow in the foreground and a worker sitting on it. The painting is meant to capture the beauty of the field and the hard work that goes into harvest. In the style of French painter Claude Monet.
"The harvest is plentiful, but the workers are few" (Luke 10:2)
A painting of Jesus' disciples walking away from an ancient town, with the dust being caught in the wind and blowing away behind them. In the style of Henri de Toulouse-Lautrec
"Shake the dust off your sandals" (Luke 10:11)
A painting of Jesus' disciples walking away from an ancient town, with the dust being caught in the wind and blowing away behind them. In the style of Henri de Toulouse-Lautrec
"Shake the dust off your sandals" (Luke 10:11)
A painting of a small, dark figure falling through a lightning-filled sky. A dark and stormy painting in the style of English Romantic painter John Martin.
"I saw Satan fall like lightning from heaven" (Luke 10:18)
Dark Angel Falling by William Blake: A dark and atmospheric painting depicting a dark angel falling from heaven in a blaze of fire and smoke. Blake's unique style combines elements of the Romantic and the Sublime to create a sense of awe and judgment.
"I saw Satan fall like lightning from heaven" (Luke 10:18)
A mosaic of Jesus surrounded by prophets and kings, with each figure created from a different color or material. In the style of Byzantine mosaics, using smalti, gold, and marble.
"Many prophets and kings wanted to see what you see but did not see it" (Luke 10:24)
A painting of a small group of people hugging and praying. In the style of the ecumenical movement paintings of the early 20th century.
The two greatest commandments (Luke 10:27)
A painting of a small group of people hugging and praying. In the style of the ecumenical movement paintings of the early 20th century.
The two greatest commandments (Luke 10:27)
"The Good Samaritan" by Norman Rockwell: A heartwarming painting of a Samaritan helping a traveler on the side of the road.
The good Samaritan (Luke 10:30–35)
An ancient Roman man helping a traveler lying on the side of the road. Inspired by the futuristic style of Syd Mead.
The good Samaritan (Luke 10:30–35)
The Good Samaritan. This sculpture depicts the Samaritan helping the man, showing how even a small act of kindness can make a difference.
The good Samaritan (Luke 10:30–35)
The Good Samaritan. This sculpture depicts the Samaritan helping the man, showing how even a small act of kindness can make a difference.
The good Samaritan (Luke 10:30–35)
The Good Samaritan by Qin Feng – Qin Feng is a Chinese painter known for his traditional style of painting. This painting could shows the Samaritan helping the man, indicating how we should all help those in need, regardless of who they are.
The good Samaritan (Luke 10:30–35)
A portrait of Mary and Martha, with Mary sitting at the feet of Jesus and Martha working. In the style of Mary Beale, an English Baroque portrait painter.
Mary and Martha (Luke 10:38–42)
"Mary and Martha" by Kehinde Wiley: A modern take on the story of Mary and Martha, with Martha as a young, busy business woman and Mary as a young caretaker. Set against a bright, floral background.
Mary and Martha (Luke 10:38–42)
"The Persistence of Prayer" by Jacob Lawrence, 1947. Oil on Masonite. Directed toward social justice, this painting depicts a gathering of people of all ages and colors, foregrounded by a lone figure praying with his or her eyes closed and hands clasped. The muted palette and expressionistic forms of Lawrence's style lend itself well to conveying the deep emotion and hope of the scene.
Jesus' teaching on prayer (Luke 11:1–13)
"The Persistence of Prayer" by Jacob Lawrence, 1947. Oil on Masonite. Directed toward social justice, this painting depicts a gathering of people of all ages and colors, foregrounded by a lone figure praying with his or her eyes closed and hands clasped. The muted palette and expressionistic forms of Lawrence's style lend itself well to conveying the deep emotion and hope of the scene.
Jesus' teaching on prayer (Luke 11:1–13)
"The Persistence of Prayer" by Jacob Lawrence, 1947. Oil on Masonite. Directed toward social justice, this painting depicts a gathering of people of all ages and colors, foregrounded by a lone figure praying with his or her eyes closed and hands clasped. The muted palette and expressionistic forms of Lawrence's style lend itself well to conveying the deep emotion and hope of the scene.
Jesus' teaching on prayer (Luke 11:1–13)
"Prayer for Peace" by Nara - a Japanese portrait of a small girl praying, surrounded by animals, inspired by the teaching that God hears and responds to the prayers of all people.
Jesus' teaching on prayer (Luke 11:1–13)
"Prayer for Peace" by Nara - a Japanese portrait of a small girl praying, surrounded by animals, inspired by the teaching that God hears and responds to the prayers of all people.
Jesus' teaching on prayer (Luke 11:1–13)
A neon sign that says "ASK" in bright letters. Medium: Neon. Artist: Tracey Emin
"Ask and it will be given to you" (Luke 11:9)
A portrait of a young boy holding a fish in one hand and a snake in the other, with a look of confusion or disappointment on his face. Done in a naïve or folk art style, in the cheerful colors of artist Grandma Moses.
"Which of you fathers, if your son asks for a fish, will give him a snake instead?" (Luke 11:11)
A portrait of a young boy holding a fish in one hand and a snake in the other, with a look of confusion or disappointment on his face. Done in a naïve or folk art style, in the cheerful colors of artist Grandma Moses.
"Which of you fathers, if your son asks for a fish, will give him a snake instead?" (Luke 11:11)
A portrait of a young boy holding a fish in one hand and a snake in the other, with a look of confusion or disappointment on his face. Done in a naïve or folk art style, in the cheerful colors of artist Grandma Moses.
"Which of you fathers, if your son asks for a fish, will give him a snake instead?" (Luke 11:11)
A sculptural installation of a broken home, dividing into two halves, with each half collapsing in on itself. In the style of Ai Weiwei.
"A house divided" (Luke 11:17)
A sculptural installation of a broken home, dividing into two halves, with each half collapsing in on itself. In the style of Ai Weiwei.
"A house divided" (Luke 11:17)
A sculptural installation of a broken home, dividing into two halves, with each half collapsing in on itself. In the style of Ai Weiwei.
"A house divided" (Luke 11:17)
An oil painting of a giant whale swallowing a city. In the style of Hieronymus Bosch.
The sign of Jonah (Luke 11:29–32)
A sculpture of an eye, with a lightbulb in the center, symbolizing the idea that our eyes are the lamps of our bodies. In the style of Chinese artist Zhang Huan.
"The eye is the lamp of the body" (Luke 11:33–36)
A photo of an ornate, highly reflective silver cup filled with dirt and mud. Next to a cleaning cloth on a wooden table.
"You clean the outside of the cup and dish, but inside you are full of greed and wickedness" (Luke 11:39)
"Hair Numbering" by dreadlocked artist Ayanna Jolley. Oil on canvas, 6' x 4', 2020.
"The hairs of your head are numbered; you are worth more than many sparrows" (Luke 12:7)
"Hair Numbering" by dreadlocked artist Ayanna Jolley. Oil on canvas, 6' x 4', 2020.
"The hairs of your head are numbered; you are worth more than many sparrows" (Luke 12:7)
"Worth More Than Sparrows" by street artist Shepard Fairey. Mixed media on paper, 2020. In this work, a young African American girl looks determinedly ahead as a flock of sparrows surrounds her head.
"The hairs of your head are numbered; you are worth more than many sparrows" (Luke 12:7)
"Worth More Than Sparrows" by street artist Shepard Fairey. Mixed media on paper, 2020. In this work, a young African American girl looks determinedly ahead as a flock of sparrows surrounds her head.
"The hairs of your head are numbered; you are worth more than many sparrows" (Luke 12:7)
A sculpture by Betye Saar of a blackbird feeling strength and resolve in a cage looking at the viewer.
"Do not worry about how you will defend yourselves" (Luke 12:11–12)
A sculpture by Betye Saar of a blackbird feeling strength and resolve in a cage looking at the viewer.
"Do not worry about how you will defend yourselves" (Luke 12:11–12)
A female defendant speaking to a courtroom with a flame above her head symbolizing the inspiration of the Holy Spirit. In the style of a courtroom sketch artist Jane Rosenberg.
"Do not worry about how you will defend yourselves" (Luke 12:11–12)
A female defendant speaking to a courtroom with a flame above her head symbolizing the inspiration of the Holy Spirit. In the style of a courtroom sketch artist Jane Rosenberg.
"Do not worry about how you will defend yourselves" (Luke 12:11–12)
A painting by Francisco de Goya depicting a rich man counting his money, with a skeleton looming behind him.
The parable of the rich fool (Luke 12:13–21)
A painting by Francisco de Goya depicting a rich man counting his money, with a skeleton looming behind him.
The parable of the rich fool (Luke 12:13–21)
An oil painting by Edvard Munch of a sad, richly dressed man with his head in his hands, surrounded by piles of money.
The parable of the rich fool (Luke 12:13–21)
An oil painting by Edvard Munch of a sad, richly dressed man with his head in his hands, surrounded by piles of money.
The parable of the rich fool (Luke 12:13–21)
An oil painting by Edvard Munch of a sad, richly dressed man with his head in his hands, surrounded by piles of money.
The parable of the rich fool (Luke 12:13–21)
An oil painting of a field of wildflowers, with light shining through them in a ethereal way. Some of the flowers on the right part of the field are losing their petals and turning brown. In the style of paintings of Edward Hopper, but with wildflowers instead of people.
"Consider the wildflowers" (Luke 12:27–28)
An oil painting of a field of wildflowers, with light shining through them in a ethereal way. Some of the flowers on the right part of the field are losing their petals and turning brown. In the style of paintings of Edward Hopper, but with wildflowers instead of people.
"Consider the wildflowers" (Luke 12:27–28)
An oil painting of a field of wildflowers, with light shining through them in a ethereal way. Some of the flowers on the right part of the field are losing their petals and turning brown. In the style of paintings of Edward Hopper, but with wildflowers instead of people.
"Consider the wildflowers" (Luke 12:27–28)
A collage of colorful wildflowers, made out of different materials like paper, fabric, or ribbon. Some of the flowers are losing their petals and turning brown. In the style of the collages of Henri Matisse.
"Consider the wildflowers" (Luke 12:27–28)
A photo of an unsettling flower arrangement in a vase, with some flowers brightly colored and some brown flowers and drooping flowers.
"Consider the wildflowers" (Luke 12:27–28)
A sculpture of a human heart with a treasure chest filled with gold inside, meant to be viewed from all sides. A Biomorphic Abstract sculpture, with a focus on the organic form. In the style of Jean Arp.
"For where your treasure is, there your heart will be" (Luke 12:34)
A painting of two people with their chests open, revealing their treasures inside them for all to see. Think Trompe-l'œil, with a realistic painting style that creates the illusion of a three-dimensional space. In the style of Robert Stackhouse.
"For where your treasure is, there your heart will be" (Luke 12:34)
A painting of two people with their chests open, revealing their treasures inside them for all to see. Think Trompe-l'œil, with a realistic painting style that creates the illusion of a three-dimensional space. In the style of Robert Stackhouse.
"For where your treasure is, there your heart will be" (Luke 12:34)
"The Faithful and Wise Manager" by Honoré Daumier (1848). Daumier's painting shows the manager as a small figure in the center of a vast and empty room. He is holding a ledger and looking out at the viewer with a stern expression. The rest of the painting is filled with objects that have been thrown or abandoned in the room, giving the impression of a life lived in total isolation.
The faithful and unfaithful managers (Luke 12:42–46)
"The Faithful and Wise Manager" by Honoré Daumier (1848). Daumier's painting shows the manager as a small figure in the center of a vast and empty room. He is holding a ledger and looking out at the viewer with a stern expression. The rest of the painting is filled with objects that have been thrown or abandoned in the room, giving the impression of a life lived in total isolation.
The faithful and unfaithful managers (Luke 12:42–46)
"The Faithful and Wise Steward" by Edgar Degas (1869) depicts a scene from the biblical story of the wise and faithful steward. The steward is shown surrounded by the things he has been entrusted with: his wealth, his possessions, and his property. The strength of his character is evident in his posture and in the way he looks at the viewer. This painting is a reminder that we are all stewards.
The faithful and unfaithful managers (Luke 12:42–46)
"The Faithful and Wise Steward" by Edgar Degas (1869) depicts a scene from the biblical story of the wise and faithful steward. The steward is shown surrounded by the things he has been entrusted with: his wealth, his possessions, and his property. The strength of his character is evident in his posture and in the way he looks at the viewer. This painting is a reminder that we are all stewards.
The faithful and unfaithful managers (Luke 12:42–46)
A mixed media piece with elements of both peace and division – for example, a dove and a sword. Artist: Shepard Fairey. Medium: stencil and spray paint.
"Do you think I came to bring peace on earth?" (Luke 12:51)
A mixed media piece with elements of both peace and division – for example, a dove and a sword. Artist: Shepard Fairey. Medium: stencil and spray paint.
"Do you think I came to bring peace on earth?" (Luke 12:51)
A sculpture of a human figure made of barbed wire, representing the division that can be caused by humans. Artist: Niki de Saint Phalle.
"Do you think I came to bring peace on earth?" (Luke 12:51)
A sculpture of a human figure made of barbed wire, representing the division that can be caused by humans. Artist: Niki de Saint Phalle.
"Do you think I came to bring peace on earth?" (Luke 12:51)
"The Cost of Sin" by Chinese artist Zhang Xiaogang (2020) – A beautiful and ethereal painting depicting a woman enveloped in a shower of coins, her face serene and calm.
"You will not get out until you have paid the last penny" (Luke 12:59)
"The Cost of Sin" by Chinese artist Zhang Xiaogang (2020) – A beautiful and ethereal painting depicting a woman enveloped in a shower of coins, her face serene and calm.
"You will not get out until you have paid the last penny" (Luke 12:59)
The Last Penny by Rene Magritte (20th century) – A work in the style of the French artist Rene Magritte, depicting a single penny on a light background.
"You will not get out until you have paid the last penny" (Luke 12:59)
A memorial by Maya Lin for the 18 people who suffered when the Tower of Siloam fell in ancient Jerusalem.
The fall of the tower of Siloam (Luke 13:4)
"Tower" by Minh Lê - a children's book illustration showing the tower collapsing in simple, geometric shapes. It depicts the Tower of Siloam collapse in ancient Jerusalem.
The fall of the tower of Siloam (Luke 13:4)
"Tower" by Minh Lê - a children's book illustration showing the tower collapsing in simple, geometric shapes. It depicts the Tower of Siloam collapse in ancient Jerusalem.
The fall of the tower of Siloam (Luke 13:4)
"The Healed Woman" by Frida Kahlo. This painting, done in her signature folk art style, shows a woman surrounded by a group of people, all looking on as she is transformed by Christ's touch. The woman herself is rendered in bright, vibrant colors, while the background is dark and muted.
Jesus heals a woman on the Sabbath (Luke 13:10–17)
"The Healed Woman" by Frida Kahlo. This painting, done in her signature folk art style, shows a woman surrounded by a group of people, all looking on as she is transformed by Christ's touch. The woman herself is rendered in bright, vibrant colors, while the background is dark and muted.
Jesus heals a woman on the Sabbath (Luke 13:10–17)
"The Healing of the Woman on the Sabbath" by Diego Rivera. This dark and powerful painting shows the woman before her healing, hunched over and struggling to move. The woman is shown in stark black and white, with the only splash of color being Christ's red robe.
Jesus heals a woman on the Sabbath (Luke 13:10–17)
"The Healing of the Woman on the Sabbath" by Diego Rivera. This dark and powerful painting shows the woman before her healing, hunched over and struggling to move. The woman is shown in stark black and white, with the only splash of color being Christ's red robe.
Jesus heals a woman on the Sabbath (Luke 13:10–17)
"The Healing of the Woman on the Sabbath" by Diego Rivera. This dark and powerful painting shows the woman before her healing, hunched over and struggling to move. The woman is shown in stark black and white, with the only splash of color being Christ's red robe.
Jesus heals a woman on the Sabbath (Luke 13:10–17)
A mustard tree with birds in its branches carved into an actual mustard seed. Extreme closeup, macro lens photo.
The parable of the mustard seed (Luke 13:19)
A mustard tree with birds in its branches carved into an actual mustard seed. Extreme closeup, macro lens photo.
The parable of the mustard seed (Luke 13:19)
A mustard tree with birds in its branches carved into an actual mustard seed. Extreme closeup, macro lens photo.
The parable of the mustard seed (Luke 13:19)
A mustard tree with birds in its branches carved into an actual mustard seed. Extreme closeup, macro lens photo.
The parable of the mustard seed (Luke 13:19)
A photo of a mustard jar shaped like a bird.
The parable of the mustard seed (Luke 13:19)
A photo of a mustard jar shaped like a bird.
The parable of the mustard seed (Luke 13:19)
A sculpture by Richard Serra, consisting of a series of metal plates arranged in a narrow doorway, making it difficult for people to pass through.
"Enter through the narrow door" (Luke 13:24)
Last and First by Fabienne Verdier. Oil painting of a line of people standing in a circle, each facing the back of the person in front of them.
"The first shall be last" (Luke 13:30)
A drawing of a mother hen surrounded by her chicks, with stones falling from the sky on the city in the background, representing the dual nature of God's love for us. (Paul Cézanne, 1886)
Lament over Jerusalem (Luke 13:34)
A 3D render of an upside down dining table on the ceiling. Unreal Engine, photorealistic.
"Do not take the place of honor" (Luke 14:7–11)
A 3D render looking up at a wooden dining table floating upside down in the air near the ceiling. Unreal Engine, photorealistic, catalog photo.
"Do not take the place of honor" (Luke 14:7–11)
A lavishly dressed rich mouse holding a banquet for poor mice, who are seated around a table filled with food. Painting from an illustrated children's picture book.
"When you give a banquet, invite the poor" (Luke 14:12–14)
A lavishly dressed rich mouse holding a banquet for poor mice, who are seated around a table filled with food. Painting from an illustrated children's picture book.
"When you give a banquet, invite the poor" (Luke 14:12–14)
A lavishly dressed rich mouse holding a banquet for poor mice, who are seated around a table filled with food. Painting from an illustrated children's picture book.
"When you give a banquet, invite the poor" (Luke 14:12–14)
"The Banquet." This mixed media piece incorporates traditional Filipino textile techniques to tell the story of the poor invited to the banquet in Luke 14. It is a reminder that the invitation is open to all, regardless of background or culture.
The parable of the banquet (Luke 14:15–24)
"The Banquet." This mixed media piece incorporates traditional Filipino textile techniques to tell the story of the poor invited to the banquet in Luke 14. It is a reminder that the invitation is open to all, regardless of background or culture.
The parable of the banquet (Luke 14:15–24)
Lois Mailou Jones, "The Invitation." This painting depicts a black hand holding an invitation out towards the viewer, with a swirling, colorful background behind it. The colors represent the vibrancy and energy of the banquet, while the black hand represents the dignity and strength of those who are invited even though they are outcasts.
The parable of the banquet (Luke 14:15–24)
An oil painting in the style of Thomas Cole depicting a mountainous landscape with a line of small figures in the foreground, each dragging a large cross.
"Whoever does not carry their cross and follow me cannot be my disciple" (Luke 14:26–27)
A line of people each drag a cross in the foreground with a desert scene in the background. The crosses slowly weigh them down as they get closer to the horizon. Vultures peck at the people from all sides, representing their family members. In the style of Edward Hopper.
"Whoever does not carry their cross and follow me cannot be my disciple" (Luke 14:26–27)
A line of people each drag a cross in the foreground with a desert scene in the background. The crosses slowly weigh them down as they get closer to the horizon. Vultures peck at the people from all sides, representing their family members. In the style of Edward Hopper.
"Whoever does not carry their cross and follow me cannot be my disciple" (Luke 14:26–27)
A cut-paper scene of an abandoned, unfinished tower, representing the biblical story of the Tower of Babel. In the style of Kara Walker.
"Suppose one of you wants to build a tower" (Luke 14:28–30)
A wide shot photo of a foundation laid for a tower, with a person sitting dejectedly in the middle of it.
"Suppose one of you wants to build a tower" (Luke 14:28–30)
A wide shot photo of a foundation laid for a tower, with a person sitting dejectedly in the middle of it.
"Suppose one of you wants to build a tower" (Luke 14:28–30)
A wide shot photo of a foundation laid for a tower, with a person sitting dejectedly in the middle of it.
"Suppose one of you wants to build a tower" (Luke 14:28–30)
"Salt": A culinary-inspired work of art that celebrates salt in all its forms, from tiny crystals to large flakes, in a variety of colors and textures.
"If it loses its saltiness" (Luke 14:34)
A microscopic photo of a dissolving salt crystal in water.
"If it loses its saltiness" (Luke 14:34)
A person with their eyes closed and their head tilted upwards, as if they are listening to something. The background could be a gradient of different shades of blue, representing the sky. Inspired by traditional Chinese painting and using a Chinese brush painting style.
"Whoever has ears to hear, let them hear" (Luke 14:35)
A person with their eyes closed and their head tilted upwards, as if they are listening to something. The background could be a gradient of different shades of blue, representing the sky. Inspired by traditional Chinese painting and using a Chinese brush painting style.
"Whoever has ears to hear, let them hear" (Luke 14:35)
A child whispering into a ten-foot-tall sculpture of an ear.
"Whoever has ears to hear, let them hear" (Luke 14:35)
Jean-Michel Basquiat, "He Who Has Ears to Hear, Let Him Hear" – A vibrant and textured painting of an ear with patterns and symbols inspired by African and Caribbean cultures.
"Whoever has ears to hear, let them hear" (Luke 14:35)
An oil painting of a sheep looking lost and forlorn in a vast, empty landscape. The sky is dark and stormy. Inspired by Caspar David Friedrich.
The parable of the lost sheep (Luke 15:4–7)
An oil painting of a sheep looking lost and forlorn in a vast, empty landscape. The sky is dark and stormy. Inspired by Caspar David Friedrich.
The parable of the lost sheep (Luke 15:4–7)
An oil painting of a sheep looking lost and forlorn in a vast, empty landscape. The sky is dark and stormy. Inspired by Caspar David Friedrich.
The parable of the lost sheep (Luke 15:4–7)
A sculpture of a sheep made out of scrap metal and found objects. The sheep is covered in rust and looks like it is about to fall apart. Inspired by Pablo Picasso.
The parable of the lost sheep (Luke 15:4–7)
"The Wayward Lamb" by Australian Aboriginal artist Lin Onus. Medium: painting. In this piece, a lamb is wandering off the path towards a dangerous cliff. The other sheep are bleating in alarm, but the lamb is oblivious, drawn in by the pretty flowers.
The parable of the lost sheep (Luke 15:4–7)
"The Wayward Lamb" by Australian Aboriginal artist Lin Onus. Medium: painting. In this piece, a lamb is wandering off the path towards a dangerous cliff. The other sheep are bleating in alarm, but the lamb is oblivious, drawn in by the pretty flowers.
The parable of the lost sheep (Luke 15:4–7)
"The Wayward Lamb" by Australian Aboriginal artist Lin Onus. Medium: painting. In this piece, a lamb is wandering off the path towards a dangerous cliff. The other sheep are bleating in alarm, but the lamb is oblivious, drawn in by the pretty flowers.
The parable of the lost sheep (Luke 15:4–7)
A sheep facing the viewer, with its head slightly to one side, as if listening. Richly colored, in the style of Celtic knotwork art and especially the Book of Kells.
The parable of the lost sheep (Luke 15:4–7)
A painting featuring a close-up of a human eye, with a gold coin instead of the iris. The muted colors and eerie feeling of Beksinski's work would capture the search for something of value that is lost.
The parable of the lost coin (Luke 15:8–10)
A photo of a table covered in a polka-dotted tablecloth in a room with polka dot wallpaper, with a coin on top of the table that is almost invisible because it blends into the pattern.
The parable of the lost coin (Luke 15:8–10)
"The Prodigal Son" by Chéri Samba: A Congolese artist best known for his vibrant and satirical paintings, Samba brings a unique perspective to the prodigal son story. His work often addresses issues of poverty and colonialism, making him a perfect artist to explore the themes of greed and redemption in this biblical tale.
The prodigal son's father divides the inheritance (Luke 15:12)
"The Prodigal Son" by Chéri Samba: A Congolese artist best known for his vibrant and satirical paintings, Samba brings a unique perspective to the prodigal son story. His work often addresses issues of poverty and colonialism, making him a perfect artist to explore the themes of greed and redemption in this biblical tale.
The prodigal son squanders his inheritance (Luke 15:13)
"The Parable of the Prodigal Son" by James Tissot: A French artist known for his highly detailed and realistic paintings, Tissot captures the lavish lifestyle of the prodigal son before his downfall. The artist's use of color and light creates a sense of opulence and decadence, highlighting the son's folly.
The prodigal son squanders his inheritance (Luke 15:13)
"The Prodigal Son" by Kazuo Shiraga: A Japanese artist known for his wild and energetic style of painting with his feet, Shiraga creates an unforgettable image of the prodigal son in the midst of his hopelessness. The painting is chaotic and jarring but ultimately offers a visually stunning take on the story.
The prodigal son (Luke 15:16–19)
"The Prodigal Son" by Kazuo Shiraga: A Japanese artist known for his wild and energetic style of painting with his feet, Shiraga creates an unforgettable image of the prodigal son in the midst of his hopelessness. The painting is chaotic and jarring but ultimately offers a visually stunning take on the story.
The prodigal son (Luke 15:16–19)
"The Prodigal Son" by Kazuo Shiraga: A Japanese artist known for his wild and energetic style of painting with his feet, Shiraga creates an unforgettable image of the prodigal son in the midst of his hopelessness. The painting is chaotic and jarring but ultimately offers a visually stunning take on the story.
The prodigal son returns (Luke 15:20)
"The Prodigal Son" by Chéri Samba: A Congolese artist best known for his vibrant and satirical paintings, Samba brings a unique perspective to the prodigal son story. His work often addresses issues of poverty and colonialism, making him a perfect artist to explore the themes of greed and redemption in this biblical tale.
The prodigal son returns (Luke 15:20)
"The Parable of the Prodigal Son" by Japanese artist Utagawa Kuniyoshi: This woodblock print tells the story of the prodigal son from the perspective of the older son, who resents the return of his brother. Kuniyoshi's use of bright colors and dynamic composition make this work a visually arresting representation of the biblical tale.
The prodigal son returns (Luke 15:20)
Henry Ossawa Tanner: "The Prodigal Son" - Realist painting in the style of the Harlem Renaissance, depicting the older brother looking on as the prodigal son returns, with the father welcoming him back with open arms.
The prodigal son returns (Luke 15:20)
"The Prodigal Son" by Chéri Samba: A Congolese artist best known for his vibrant and satirical paintings, Samba brings a unique perspective to the prodigal son story. His work often addresses issues of poverty and colonialism, making him a perfect artist to explore the themes of greed and redemption in this biblical tale.
"This son of mine was dead and is alive again" (Luke 15:22–24)
Henry Ossawa Tanner: "The Prodigal Son" - Realist painting in the style of the Harlem Renaissance, depicting the older brother looking on as the prodigal son returns, with the father welcoming him back with open arms.
The resentment of the prodigal son's brother (Luke 15:25–32)
"Parable of the Shrewd Manager" by Vera Neumann. In this painting, a group of people are gathered around a table, counting money. A man in the middle is holding a bag of money and is looking at the others with a smirk on his face. The background is colorful and busy, with people walking around and things happening. Inspired by the parable of the shrewd manager in Luke 16.
The parable of the shrewd manager (Luke 16:1–15)
"Parable of the Shrewd Manager" by Vera Neumann. In this painting, a group of people are gathered around a table, counting money. A man in the middle is holding a bag of money and is looking at the others with a smirk on his face. The background is colorful and busy, with people walking around and things happening. Inspired by the parable of the shrewd manager in Luke 16.
The parable of the shrewd manager (Luke 16:1–15)
"Parable of the Shrewd Manager" by Vera Neumann. In this painting, a group of people are gathered around a table, counting money. A man in the middle is holding a bag of money and is looking at the others with a smirk on his face. The background is colorful and busy, with people walking around and things happening. Inspired by the parable of the shrewd manager in Luke 16.
The parable of the shrewd manager (Luke 16:1–15)
"Parable of the Shrewd Manager" by Vera Neumann. In this painting, a group of people are gathered around a table, counting money. A man in the middle is holding a bag of money and is looking at the others with a smirk on his face. The background is colorful and busy, with people walking around and things happening. Inspired by the parable of the shrewd manager in Luke 16.
The parable of the shrewd manager (Luke 16:1–15)
"The allure of money" in the style of Gustav Klimt – A painting that attracts the viewer with the glitter and glamour of money but also critiques wealth because of the spiritual emptiness that comes with it. A glittering and lavish painting.
"No one can serve two masters" (Luke 16:13)
"The allure of money" in the style of Gustav Klimt – A painting that attracts the viewer with the glitter and glamour of money but also critiques wealth because of the spiritual emptiness that comes with it. A glittering and lavish painting.
"No one can serve two masters" (Luke 16:13)
A work of pop art in which money is portrayed as a god-like figure, demanding attention and worship. In the style of Takashi Murakami.
"No one can serve two masters" (Luke 16:13)
"The Moneylender's Inferno" by David Hockney. A painting featuring a brightly-colored, dystopian landscape made of dollar bills, with a lone figure in the center, toiling away.
"No one can serve two masters" (Luke 16:13)
"The Moneylender's Inferno" by David Hockney. A painting featuring a brightly-colored, dystopian landscape made of dollar bills, with a lone figure in the center, toiling away.
"No one can serve two masters" (Luke 16:13)
A work of art that features a giant pen hovering over a small planet, with the vastness of space in the background. The pen is about to write something on the planet, symbolizing the power of the written word. In the style of surrealist painter René Magritte.
"It is easier for heaven and earth to disappear than for the least stroke of a pen to drop out of the Law" (Luke 16:17)
"Fire from Heaven" - An abstract painting with bold red and orange tones, reminiscent of fire, to represent fire coming down from heaven and Jesus' rebuke of two of his disciples. In the style of Clyfford Stil.
Lazarus and the rich man (Luke 16:19–31)
"Fire from Heaven" - An abstract painting with bold red and orange tones, reminiscent of fire, to represent fire coming down from heaven and Jesus' rebuke of two of his disciples. In the style of Clyfford Stil.
Lazarus and the rich man (Luke 16:19–31)
"Fire from Heaven" - An abstract painting with bold red and orange tones, reminiscent of fire, to represent fire coming down from heaven and Jesus' rebuke of two of his disciples. In the style of Clyfford Stil.
Lazarus and the rich man (Luke 16:19–31)
A rich man in a business suit ignores a homeless man lying on the street, begging for money. Oil painting in the style of Brazilian artist Romero Britto.
The rich man and Lazarus (Luke 16:19–31)
A rich man in a business suit ignores a homeless man lying on the street, begging for money. Oil painting in the style of Brazilian artist Romero Britto.
The rich man and Lazarus (Luke 16:19–31)
Dogs licking a homeless man, who is lying on the street by a building. Watercolor in the style of Joaquin Sorolla.
Lazarus lying by the gate (Luke 16:21)
"The Rich Man and Lazarus": A sculpture of the rich man's figure, surrounded by flames, begging for relief. Artist: Alberto Giacometti (1945).
The rich man in torment (Luke 16:22–31)
"The Rich Man and Lazarus": A dark and haunting painting featuring the rich man's skeleton-like figure surrounded by flames as he reaches out to a man in a lush garden in the distance. Artist: James Ensor.
The rich man in torment (Luke 16:22–31)
"Stumbling" - a child falls, one arm outstretched, as a millstone looms behind them. Artist: Max Ernst (1958).
"It would be better for them to be thrown into the sea with a millstone tied around their neck" (Luke 17:2)
"Stumbling" - a child falls, one arm outstretched, as a millstone looms behind them. Artist: Max Ernst (1958).
"It would be better for them to be thrown into the sea with a millstone tied around their neck" (Luke 17:2)
"Stumbling" - a child falls, one arm outstretched, as a millstone looms behind them. Artist: Max Ernst (1958).
"It would be better for them to be thrown into the sea with a millstone tied around their neck" (Luke 17:2)
Käthe Kollwitz, "The Millstone" etching, 1898. This painting shows a millstone sinking into the sea, with the sky and water around it taking on a threatening, dark quality.
"It would be better for them to be thrown into the sea with a millstone tied around their neck" (Luke 17:2)
"Tree" by Alma Thomas: A painting of a tree with colorful and expressionistic leaves planted in the ocean.
"Be uprooted and planted in the sea" (Luke 17:6)
"Tree" by Alma Thomas: A painting of a tree with colorful and expressionistic leaves planted in the ocean.
"Be uprooted and planted in the sea" (Luke 17:6)
"Reclaimed": A mixed media sculpture of ten men, each with a different arm or leg missing, being embraced by Jesus. The figures would be made of recycled materials such as metal, wood, and fabric. Artist: Xaviera Simmons
Jesus heals ten men with leprosy (Luke 17:11–19)
"The Cleansing": A watercolor painting depicting Jesus and ten men in rags standing by a natural spring of water in a village. As Jesus waves his hand over the men, they are healed. The well is a pale blue, and the figures are surrounded by forest greens. Artist: Tsunehisa Kimura
Jesus heals ten men with leprosy (Luke 17:11–19)
"The Grateful One" by Joaquin Sorolla y Bastida. A large oil painting on canvas depicting a man in the center, his face turned towards heaven in gratitude, with the ten other men in the background, their faces hidden or turned away. The light shines brightest on the grateful one, signifying the grace of God.
One man with leprosy returns (Luke 17:15–19)
"The Wheat Grinders" by Mary Cassatt. This painting depicts two women grinding wheat together in a dark and dreary setting. One woman is looking off into the distance into the light, while the other is fully focused on her task.
"Two women will be grinding grain together" (Luke 17:35)
"The Two Grinders," Marie Bashkirtseff, oil on canvas, 1881. Two women are hard at work grinding grain together, with one woman looking up to the sky and seeing the moment when she will be taken.
"Two women will be grinding grain together" (Luke 17:35)
"The Two Grinders," Marie Bashkirtseff, oil on canvas, 1881. Two women are hard at work grinding grain together, with one woman looking up to the sky and seeing the moment when she will be taken.
"Two women will be grinding grain together" (Luke 17:35)
"The Patient Widow," Grant Wood, 1930. A painting in oil on wood panel depicting a widow seated on a stone bench, her back to the viewer. She is shrouded in black, her head bowed in prayer. The painting is meant to show the widow's calm and steadfast faith in the face of adversity.
The parable of the persistent widow (Luke 18:1–8)
"The Persistent Widow" by N.C. Wyeth, showing the widow approaching the unjust judge's court for the umpteenth time. The painting would be narrative in nature, telling the story of the widow's perseverance.
The parable of the persistent widow (Luke 18:1–8)
"The Persistent Widow" by N.C. Wyeth, showing the widow approaching the unjust judge's court for the umpteenth time. The painting would be narrative in nature, telling the story of the widow's perseverance.
The parable of the persistent widow (Luke 18:1–8)
"The Parable of the Pharisee and the Tax Collector" by Jean-Baptiste-Camille Corot, 1825. This painting shows the two men from the parable standing in a field, with the proud Pharisee looking down at the humble tax collector. The tax collector is shown with his head bowed, as if he is in prayer. This painting emphasizes the contrast between the two men.
The parable of the Pharisee and the tax collector (Luke 18:9–14)
The Parable of the Pharisee and the Tax Collector, Jean-Honoré Fragonard, 1780, Oil on Canvas. A painting that uses soft pastel colors and has an ethereal quality to it. The Pharisee stands tall and looks down on the Tax Collector who is bowed down in shame, showing the haughtiness of the Pharisee and the humility of the Tax Collector.
The parable of the Pharisee and the tax collector (Luke 18:9–14)
"The Welcoming" by Jean-Francois Millet, 1850. A painting of children running towards a figure in the distance, thought to be Jesus. The artist was inspired by the idea of children being welcomed into the kingdom of God.
"Let the little children come to me" (Luke 18:16)
"The Welcoming" by Jean-Francois Millet, 1850. A painting of children running towards a figure in the distance, thought to be Jesus. The artist was inspired by the idea of children being welcomed into the kingdom of God.
"Let the little children come to me" (Luke 18:16)
"Come unto Me" by James Tissot. Tissot's iconic painting depicts a young boy clinging to Jesus' robes as he is lifted into the air. The other children in the background look on longingly, while the onlookers seem both disapproving and awestruck. The painting captures the innocence and vulnerability of children, as well as their boundless trust.
"Let the little children come to me" (Luke 18:16)
The Rich Man and the Camel, 2020. A man in rich clothing is trying to get a camel through the eye of a needle, while the camel doesn't look too pleased. This could be interpreted in a number of ways, but one possible message is that it is very difficult for someone who is used to a life of luxury to give that up and live a more simple life.
"A camel through the eye of a needle" (Luke 18:25)
Tilt-shift photo of a camel in the eye of a needle. Extreme close-up, macro 200mm lens.
"A camel through the eye of a needle" (Luke 18:25)
Tilt-shift photo of a camel jumping through a tiny hoop hanging from the ceiling. Extreme close-up, macro lens.
"A camel through the eye of a needle" (Luke 18:25)
Tilt-shift photo of a camel jumping through a tiny hoop hanging from the ceiling. Extreme close-up, macro lens.
"A camel through the eye of a needle" (Luke 18:25)
Photo of a yarn camel unraveling using a sewing needle. The camel is visibly coming undone. Medium shot, 35mm, with a wooden table in the background.
"A camel through the eye of a needle" (Luke 18:25)
"Faith" by Annie Leibovitz. This photograph, taken for the cover of Time magazine, shows a woman praying in the midst of a desert. The vastness of the landscape and the smallness of the figure is meant to convey the idea that faith can help us overcome any obstacle.
"What is impossible with man is possible with God" (Luke 18:27)
A sculpture of a figure made from broken glass, symbolizing that with God's help, even something that appears broken can be made whole.
"What is impossible with man is possible with God" (Luke 18:27)
A sculpture of a figure made from broken glass, symbolizing that with God's help, even something that appears broken can be made whole.
"What is impossible with man is possible with God" (Luke 18:27)
Bartimaeus Receives His Sight, John Everett Millais, 1864, Painting, British artist Millais’ take on Bartimaeus begging Jesus to restore his sight is more sentimental, with Bartimaeus’ blindness adding to the pathos of the scene.
Jesus heals Bartimaeus (Luke 18:35–43)
Bartimaeus Healed, mosaic, Marc Chagall. A stylized representation of the story of the blind beggar Bartimaeus receiving his sight from Jesus, in vibrant colors that represent sudden healing.
Jesus heals Bartimaeus (Luke 18:35–43)
Bartimaeus Healed, mosaic, Marc Chagall. A stylized representation of the story of the blind beggar Bartimaeus receiving his sight from Jesus, in vibrant colors that represent sudden healing.
Jesus heals Bartimaeus (Luke 18:35–43)
Bartimaeus Healed, mosaic, Marc Chagall. A stylized representation of the story of the blind beggar Bartimaeus receiving his sight from Jesus, in vibrant colors that represent sudden healing.
Jesus heals Bartimaeus (Luke 18:35–43)
"Jesus and Zacchaeus," Makoto Fujimura, 2016. A beautiful and peaceful abstract image, in which Jesus and Zacchaeus are shown in conversation, surrounded by nature. Jesus is looking up at Zacchaeus, who is climbing a tree.
Jesus and Zacchaeus (Luke 19:1–10)
"Jesus and Zacchaeus," Makoto Fujimura, 2016. A beautiful and peaceful abstract image, in which Jesus and Zacchaeus are shown in conversation, surrounded by nature. Jesus is looking up at Zacchaeus, who is climbing a tree.
Jesus and Zacchaeus (Luke 19:1–10)
A man in a business suit at the top of a tall sycamore tree, looking down on Jesus and his followers on the ground. The tree is large, and the figures are small. Oil painting in a children's book.
Jesus and Zacchaeus (Luke 19:1–10)
A man in a business suit at the top of a tall sycamore tree, looking down on Jesus and his followers on the ground. The tree is large, and the figures are small. Oil painting in a children's book.
Jesus and Zacchaeus (Luke 19:1–10)
Cheery colorful kids book illustration of Zacchaeus in a tree talking to Jesus on the ground.
Jesus and Zacchaeus (Luke 19:1–10)
Ten Minas, Firelei Baez, 2015, mixed media. This work reflects on the Gospel story of the ten minas. The servants who invest their money are commended, while the servant who buries his mina is condemned. This work includes images of ten women of color, each holding a gold coin. The women's expressions vary, reflecting the different ways in which they might respond to the challenge.
The parable of the ten minas (Luke 19:11–27)
The Parable of the Ten Minas, Maya Freelon, 2018, mixed media on paper. This work depicts ten portraits of people surrounding a central image of a person holding a gold coin. The people's faces are set against a vivid yellow background, highlighting the rewards and punishments and emphasizing the importance of using one's resources wisely.
The parable of the ten minas (Luke 19:11–27)
The Parable of the Ten Minas, Maya Freelon, 2018, mixed media on paper. This work depicts ten portraits of people surrounding a central image of a person holding a gold coin. The people's faces are set against a vivid yellow background, highlighting the rewards and punishments and emphasizing the importance of using one's resources wisely.
The parable of the ten minas (Luke 19:11–27)
"The 1%" by Shepard Fairey, 2011, Screenprint, A close-up portrait of a man in a suit, with the word "1%" in large letters above his head.
"To everyone who has, more will be given" (Luke 19:26)
"The Divide" by Jonas Burgert, 2009, Oil on Canvas, A massive canvas depicting two worlds: a bright, beautiful world on one side, and a dark, decaying world on the other.
"To everyone who has, more will be given" (Luke 19:26)
"The Divide" by Jonas Burgert, 2009, Oil on Canvas, A massive canvas depicting two worlds: a bright, beautiful world on one side, and a dark, decaying world on the other.
"To everyone who has, more will be given" (Luke 19:26)
"The Divide" by Jonas Burgert, 2009, Oil on Canvas, A massive canvas depicting two worlds: a bright, beautiful world on one side, and a dark, decaying world on the other.
"To everyone who has, more will be given" (Luke 19:26)
"The Divide" by Jonas Burgert, 2009, Oil on Canvas, A massive canvas depicting a golden cityscape made up of dollar signs.
"To everyone who has, more will be given" (Luke 19:26)
"Jesus Christ Arriving in Jerusalem" by Anders Zorn, 1910, oil painting. This painting depicts Jesus riding into Jerusalem on a donkey as people wave palm branches and shout praises to him.
The triumphal entry (Luke 19:28–40)
Drone, high-altitude photo of Jesus riding on a donkey entering Jerusalem with crods waving palm branches for Palm Sunday
The triumphal entry (Luke 19:28–40)
"Palm Sunday" by Eric Drooker, 1992, Linocut Print, A modern, stark interpretation of the biblical story of Jesus riding into Jerusalem on a donkey with crowds waving palm branches, with Jesus' simple figure in the center of the composition.
The triumphal entry (Luke 19:28–40)
"Palm Sunday" by Eric Drooker, 1992, Linocut Print, A modern, stark interpretation of the biblical story of Jesus riding into Jerusalem on a donkey with crowds waving palm branches, with Jesus' simple figure in the center of the composition.
Jesus' disciples find a donkey (Luke 19:32–34)
"Palm Sunday" by Eric Drooker, 1992, Linocut Print, A modern, stark interpretation of the biblical story of Jesus riding into Jerusalem on a donkey with crowds waving palm branches, with Jesus' simple figure in the center of the composition.
Jesus' disciples find a donkey (Luke 19:32–34)
2020 digital art. The stones of the city of Jerusalem come to life as a friendly and helpful creatures to praise God excitedly.
"The stones will cry out" (Luke 19:40)
"Jesus Cleansing the Temple", 2013 cubist painting. Orozco's painting depicts the event as a clash of colors, with Jesus' red robe in bright contrast to the blue robes of the money changers.
Jesus drives out the moneychangers (Luke 19:45–46)
"Jesus Cleansing the Temple", 2013 cubist painting. Orozco's painting depicts the event as a clash of colors, with Jesus' red robe in bright contrast to the blue robes of the money changers.
Jesus drives out the moneychangers (Luke 19:45–46)
The Cleansing of the Temple, Banksy, 2005, Mural. A stencil mural of Jesus Christ overturning the money changers' tables in the temple.
Jesus drives out the moneychangers (Luke 19:45–46)
The Cleansing of the Temple, Banksy, 2005, Mural. A stencil mural of Jesus Christ overturning the money changers' tables in the temple.
Jesus drives out the moneychangers (Luke 19:45–46)
The Cleansing of the Temple, Banksy, 2005, Mural. A stencil mural of Jesus Christ overturning the money changers' tables in the temple.
Jesus drives out the moneychangers (Luke 19:45–46)
The Cleansing of the Temple, Banksy, 2005, Mural. A stencil mural of Jesus Christ overturning the money changers' tables in the temple.
Jesus drives out the moneychangers (Luke 19:45–46)
"The Question" by Kiki Smith, 2005, Mixed Media. A mixed media piece featuring a man's face with a question mark in place of his mouth, symbolizing the unanswered question of the authority behind Jesus' actions.
Pharisees question Jesus' authority (Luke 20:1–8)
"You Will Never Know", 2019, mixed media. A large, complex mixed media piece in which question marks are prominently featured in various different mediums and colors. The words are meant to be both a reflection of the Pharisees' never-ending questioning and also a foreshadowing of their own bitter end.
Pharisees question Jesus' authority (Luke 20:1–8)
"The Farmers' Rebellion", 2020, digital painting. This painting shows farmers resisting the stewards who are overseeing their work.
The parable of the tenants (Luke 20:9–19)
"The Farmers' Rebellion", 2020, digital painting. This painting shows farmers resisting the stewards who are overseeing their work.
The parable of the tenants (Luke 20:9–19)
"The Vineyard Rebellion", 2017, acrylic on paper. This painting depicts a vineyard with a scheming laborers who want to overthrow the vineyard owner and take all the grapes for themselves.
The parable of the tenants (Luke 20:9–19)
"The Vineyard Rebellion", 2017, acrylic on paper. This painting depicts a vineyard with a scheming laborers who want to overthrow the vineyard owner and take all the grapes for themselves.
The parable of the tenants (Luke 20:9–19)
"The Vineyard Rebellion", 2017, acrylic on paper. This painting depicts a vineyard with a scheming laborers who want to overthrow the vineyard owner and take all the grapes for themselves.
The parable of the tenants (Luke 20:9–19)
"Tribute" by Francisco Goya, 1786, oil on canvas. An oil painting on canvas depicting a man kneeling before a figure representing Caesar, offering a bag of money. It contrasts the earthly power of Caesar with the spiritual power of God, which is represented by a light from above.
"Render unto Caesar" (Luke 20:25)
"Tribute" by Francisco Goya, 1786, oil on canvas. An oil painting on canvas depicting a man kneeling before a figure representing Caesar, offering a bag of money. It contrasts the earthly power of Caesar with the spiritual power of God, which is represented by a light from above.
"Render unto Caesar" (Luke 20:25)
An art installation of two wooden boxes, one containing a sculpture of the head of a Roman emperor, and one containing a cross.
"Render unto Caesar" (Luke 20:25)
Journey, 2021. Watercolor on Paper. A figure, their face hidden, is walking towards a door. The door is open, and the light from beyond is shining through. The figure is on a journey, moving from darkness into light.
"God is not the God of the dead, but of the living" (Luke 20:38)
Journey, 2021. Watercolor on Paper. A figure, their face hidden, is walking towards a door. The door is open, and the light from beyond is shining through. The figure is on a journey, moving from darkness into light.
"God is not the God of the dead, but of the living" (Luke 20:38)
Journey, 2021. Watercolor on Paper. A figure, their face hidden, is walking towards a door. The door is open, and the light from beyond is shining through. The figure is on a journey, moving from darkness into light.
"God is not the God of the dead, but of the living" (Luke 20:38)
Journey, 2021. Watercolor on Paper. A figure, their face hidden, is walking towards a door. The door is open, and the light from beyond is shining through. The figure is on a journey, moving from darkness into light.
"God is not the God of the dead, but of the living" (Luke 20:38)
All Are Alive, 2016, Korean finger painting. A painting of brightly colored flowers and animals, showing that everything is alive.
"God is not the God of the dead, but of the living" (Luke 20:38)
All Are Alive, 2016, Korean finger painting. A painting of brightly colored flowers and animals, showing that everything is alive.
"God is not the God of the dead, but of the living" (Luke 20:38)
All Are Alive, 2016, Korean finger painting. A painting of brightly colored flowers and animals, showing that everything is alive.
"God is not the God of the dead, but of the living" (Luke 20:38)
"Widow's House" by Vincent van Gogh, 1890. Oil on canvas. A striking painting of a ramshackle house in the Provence countryside, with a small figure in the foreground and two men approaching in the background.
"They devour widows' houses" (Luke 20:47)
"Widow's House" by Vincent van Gogh, 1890. Oil on canvas. A striking painting of a ramshackle house in the Provence countryside, with a small figure in the foreground and two men approaching in the background.
"They devour widows' houses" (Luke 20:47)
"The Widows of Albion" by William Blake, 1793. Watercolor and pen on paper. A dark and mysterious work, depicting a group of widows shrouded in black, running from a cottage. A fissure in the earth is about to destroy the cottage.
"They devour widows' houses" (Luke 20:47)
"The Widows of Albion" by William Blake, 1793. Watercolor and pen on paper. A dark and mysterious work, depicting a group of widows shrouded in black, running from a cottage. A fissure in the earth is about to destroy the cottage.
"They devour widows' houses" (Luke 20:47)
"The Widows of Albion" by William Blake, 1793. Watercolor and pen on paper. A dark and mysterious work, depicting a group of widows shrouded in black, running from a cottage. A fissure in the earth is about to destroy the cottage.
"They devour widows' houses" (Luke 20:47)
"The Widows of Albion" by William Blake, 1793. Watercolor and pen on paper. A dark and mysterious work, depicting a group of widows shrouded in black, running from a cottage. A fissure in the earth is about to destroy the cottage.
"They devour widows' houses" (Luke 20:47)
"The Widow's Offering" by Doris Lee, 1952. Oil on canvas. Lee's painting is a colorful and whimsical depiction of the biblical story of the widow giving away two small copper coins. The widow is shown as a cheerful and resourceful woman, making the best of her circumstances. The painting is filled with a sense of humor and optimism, despite the widow's poverty.
The widow's offering (Luke 21:1–4)
The Poor Widow's Mite, Georgia O'Keeffe, 1918. Watercolor. O'Keeffe's watercolor depicts the story of the widow's offering in a unique and beautiful way. The woman's face is hidden in shadow, and the coins in her hand are shining and rose-colored.
The widow's offering (Luke 21:1–4)
"Kingdom against Kingdom", 2018, mixed media. A collage or assemblage piece made from various found objects, representing the various factions and forces in conflict with one another.
"Nation will rise against nation" (Luke 21:10)
"Kingdom against Kingdom", 2018, mixed media. A collage or assemblage piece made from various found objects, representing the various factions and forces in conflict with one another.
"Nation will rise against nation" (Luke 21:10)
Battle lines, 2017, Stained Glass. A modern interpretation of a traditional stained glass window, depicting people of all countries locked in conflict. The use of bright colors contrasts with the harshness of the scene.
"Nation will rise against nation" (Luke 21:10)
Battle lines, 2017, Stained Glass. A modern interpretation of a traditional stained glass window, depicting people of all countries locked in conflict. The use of bright colors contrasts with the harshness of the scene.
"Nation will rise against nation" (Luke 21:10)
"Withholding Information" 1957. gouache on paper. In this impressionistic painting, a figure is shown with their back to the viewer, shrouded in a dark cloak. They are holding a lamp, but their face is hidden in shadow.
Judas agrees to betray Jesus (Luke 22:1–6)
"Withholding Information" 1957. gouache on paper. In this impressionistic painting, a figure is shown with their back to the viewer, shrouded in a dark cloak. They are holding a lamp, but their face is hidden in shadow.
Judas agrees to betray Jesus (Luke 22:1–6)
"Withholding Information" 1957. gouache on paper. In this impressionistic painting, a figure is shown with their back to the viewer, shrouded in a dark cloak. They are holding a lamp, but their face is hidden in shadow.
Judas agrees to betray Jesus (Luke 22:1–6)
"The 30 Pieces of Silver" by Gustav Klimt, 1908. Oil and silver on canvas. A dark and atmospheric print showing Judas counting out the pieces of silver. He is surrounded by darkness, and the silver coins gleam in the light.
Judas agrees to betray Jesus (Luke 22:1–6)
"The 30 Pieces of Silver" by Gustav Klimt, 1908. Oil and silver on canvas. A dark and atmospheric print showing Judas counting out the pieces of silver. He is surrounded by darkness, and the silver coins gleam in the light.
Judas agrees to betray Jesus (Luke 22:1–6)
"The 30 Pieces of Silver" by Gustav Klimt, 1908. Oil and silver on canvas. A dark and atmospheric print showing Judas counting out the pieces of silver. He is surrounded by darkness, and the silver coins gleam in the light.
Judas agrees to betray Jesus (Luke 22:1–6)
"The Last Supper" by Julie Mehretu, 2009, acrylic on canvas. This painting focuses on the women present at the Last Supper, rather than Jesus and his disciples.
The Last Supper (Luke 22:7–38)
"The Last Supper" by Julie Mehretu, 2009, acrylic on canvas. This painting focuses on the women present at the Last Supper, rather than Jesus and his disciples.
The Last Supper (Luke 22:7–38)
"The Last Supper" in the style of Frank Gehry. The focus is on the architecture of the room and the many unusual shapes.
The Last Supper (Luke 22:7–38)
"The Last Supper" in the style of Frank Gehry. The focus is on the architecture of the room and the many unusual shapes.
The Last Supper (Luke 22:7–38)
"The Last Supper" in the style of Frank Gehry. The focus is on the architecture of the room and the many unusual shapes.
The Last Supper (Luke 22:7–38)
"The Upper Room." A modern take on The Last Supper, with Jesus and his disciples in a penthouse boardroom in a skyscraper, eating a meal overlooking a city. In the style of an architectural rendering.
The Last Supper (Luke 22:7–38)
"The Upper Room." A modern take on The Last Supper, with Jesus and his disciples in a penthouse boardroom in a skyscraper, eating a meal overlooking a city. In the style of an architectural rendering.
The Last Supper (Luke 22:7–38)
"The Upper Room." A modern take on The Last Supper, with Jesus and his disciples in a penthouse boardroom in a skyscraper, eating a meal overlooking a city. In the style of an architectural rendering.
The Last Supper (Luke 22:7–38)
"The Upper Room." A modern take on The Last Supper, with Jesus and his disciples in a penthouse boardroom in a skyscraper, eating a meal overlooking a city. In the style of an architectural rendering.
The Last Supper (Luke 22:7–38)
"Gethsemane", 1922. tempera on cardboard. The artist was inspired by the story of Jesus' prayer in the Garden of Gethsemane and uses intense colors and patterns to capture the feeling of anguish in the scene.
The Garden of Gethsemane (Luke 22:39–46)
"Gethsemane", 1922. tempera on cardboard. The artist was inspired by the story of Jesus' prayer in the Garden of Gethsemane and uses intense colors and patterns to capture the feeling of anguish in the scene.
The Garden of Gethsemane (Luke 22:39–46)
"Gethsemane", 1922. tempera on cardboard. The artist was inspired by the story of Jesus' prayer in the Garden of Gethsemane and uses intense colors and patterns to capture the feeling of anguish in the scene.
The Garden of Gethsemane (Luke 22:39–46)
"Gethsemane," 1903, painting by Arnold Böcklin. A dark and atmospheric work, depicting Jesus surrounded by ominous, twisted trees. The sense of foreboding is palpable, and the viewer feels as if they are witnessing a private moment of prayer and anguish.
The Garden of Gethsemane (Luke 22:39–46)
"Gethsemane," 1903, painting by Arnold Böcklin. A dark and atmospheric work, depicting Jesus surrounded by ominous, twisted trees. The sense of foreboding is palpable, and the viewer feels as if they are witnessing a private moment of prayer and anguish.
The Garden of Gethsemane (Luke 22:39–46)
"Gethsemane," 1903, painting by Arnold Böcklin. A dark and atmospheric work, depicting Jesus surrounded by ominous, twisted trees. The sense of foreboding is palpable, and the viewer feels as if they are witnessing a private moment of prayer and anguish.
The Garden of Gethsemane (Luke 22:39–46)
"Gethsemane," 1903, painting by Arnold Böcklin. A dark and atmospheric work, depicting Jesus surrounded by ominous, twisted trees. The sense of foreboding is palpable, and the viewer feels as if they are witnessing a private moment of prayer and anguish.
The Garden of Gethsemane (Luke 22:39–46)
"The Betrayal," 1998, bronze sculpture by Nigerian artist Sokari Douglas Camp. A sculpture of Judas kissing Jesus on the cheek, set against a background of barbed wire.
Judas betrays Jesus with a kiss (Luke 22:47–48)
"The Judas Kiss" by William-Adolphe Bouguereau (1886), oil on canvas. A realistic portrait of Judas, holding a dagger behind his back, drawing close to Jesus to kiss him.
Judas betrays Jesus with a kiss (Luke 22:47–48)
"The Judas Kiss" by William-Adolphe Bouguereau (1886), oil on canvas. A realistic portrait of Judas, holding a dagger behind his back, drawing close to Jesus to kiss him.
Judas betrays Jesus with a kiss (Luke 22:47–48)
The courtyard of the high priest's house, lit by torches in the early hours of the morning. Jesus is in the center, flanked by his accusers. Peter is in the background, his head bowed in shame, standing near a rooster. A pointilist drawing in the style of Georges Seurat.
Peter disowns Jesus (Luke 22:54–62)
The courtyard of the high priest's house, lit by torches in the early hours of the morning. Jesus is in the center, flanked by his accusers. Peter is in the background, his head bowed in shame, standing near a rooster. A pointilist drawing in the style of Georges Seurat.
Peter disowns Jesus (Luke 22:54–62)
The courtyard of the high priest's house, lit by torches in the early hours of the morning. Jesus is in the center, flanked by his accusers. Peter is in the background, his head bowed in shame, standing near a rooster. A pointilist drawing in the style of Georges Seurat.
Peter disowns Jesus (Luke 22:54–62)
The Rooster Crowing, 1948, oil on canvas. Pablo Picasso portrays the rooster that crows after Peter denies Christ. The painting is filled with intense colors and emotions, symbolizing the betrayal of Christ.
Peter disowns Jesus (Luke 22:54–62)
A menacing rooster stares in the early morning at the apostle Peter, who has just disowned Jesus. Peter suddenly realizes his shame, standing by a fire. Oil painting in the style of Rembrandt.
Peter disowns Jesus (Luke 22:54–62)
A menacing rooster stares in the early morning at the apostle Peter, who has just disowned Jesus. Peter suddenly realizes his shame, standing by a fire. Oil painting in the style of Rembrandt.
Peter disowns Jesus (Luke 22:54–62)
"The Trial of Jesus," Ben Shahn, 1964, serigraph. Shahn's serigraph is a colorful and expressive depiction of the scene, with Jesus in the center and the members of the Sanhedrin shown as distorted figures.
Jesus' trial before the Sanhedrin (Luke 22:66–71)
"Conflict" by Mark Rothko, 1949. Oil on Canvas.  This painting captures the tension and conflict between Jesus and his accusers in court. The muted colors and harsh brushstrokes create a sense of unease, representing the tension between good and evil.
Jesus' trial before the Sanhedrin (Luke 22:66–71)
"Conflict" by Mark Rothko, 1949. Oil on Canvas.  This painting captures the tension and conflict between Jesus and his accusers in court. The muted colors and harsh brushstrokes create a sense of unease, representing the tension between good and evil.
Jesus' trial before the Sanhedrin (Luke 22:66–71)
"Pilate and the Crowd," Giotto, 1305. In Giotto's painting, Pilate is shown as tiny and insignificant in front of the mass of people demanding Christ's punishment.
Pilate and the crowd (Luke 23:13–25)
"Pilate Listens to the Demands of the Crowd," 2016, oil painting. Inspired by the Bible passage, this painting depicts Pontius Pilate seated on his throne, surrounded by the jeering crowd. He looks weary and resigned, as if he knows that he must give in to their demands.
Pilate and the crowd (Luke 23:13–25)
A colorful abstract painting inspired by stained glass windows, depicting Mary and her family in geometric shapes as they visit Jesus. Modernist painting in the style of Carlos Cruz-Diez.
Jesus' crucifixion (Luke 23:26–43)
A colorful abstract painting inspired by stained glass windows, depicting Mary and her family in geometric shapes as they visit Jesus. Modernist painting in the style of Carlos Cruz-Diez.
Jesus' crucifixion (Luke 23:26–43)
A colorful abstract painting inspired by stained glass windows, depicting Mary and her sons in geometric shapes as they see Jesus through a window inside a house. Modernist painting in the style of Carlos Cruz-Diez.
Jesus' crucifixion (Luke 23:26–43)
A colorful abstract painting inspired by stained glass windows, depicting Mary and her sons in geometric shapes as they see Jesus through a window inside a house. Modernist painting in the style of Carlos Cruz-Diez.
Jesus' crucifixion (Luke 23:26–43)
A colorful abstract painting inspired by stained glass windows, depicting Mary and her sons in geometric shapes as they see Jesus through a window inside a house. Modernist painting in the style of Carlos Cruz-Diez.
Jesus' crucifixion (Luke 23:26–43)
Edvard Munch, 1893, modern painting. A highly expressive and emotive painting depicting Christ on the cross, and those who came to watch.
Jesus' crucifixion (Luke 23:26–43)
Edvard Munch, 1893, modern painting. A highly expressive and emotive painting depicting Christ on the cross, and those who came to watch.
Jesus' crucifixion (Luke 23:26–43)
Hope of Resurrection, 2018, watercolor. A watercolor painting depicting a empty cave with a ray of light shining down, representing hope and new life. In the style of Elizabeth Thompson
"He is not here; he has risen!" (Luke 24:6)
Hope of Resurrection, 2018, watercolor. A watercolor painting depicting a empty cave with a ray of light shining down, representing hope and new life. In the style of Elizabeth Thompson
"He is not here; he has risen!" (Luke 24:6)
"Christ Triumphant" by Nigerian artist Obiora Udechukwu, 1990. Two angels talk to the women outside the cave where Jesus was, saying that he has risen to life.
"He is not here; he has risen!" (Luke 24:6)
"Christ Triumphant" by Nigerian artist Obiora Udechukwu, 1990. Two angels talk to the women outside the cave where Jesus was, saying that he has risen to life.
"He is not here; he has risen!" (Luke 24:6)
The Road to Emmaus, 2021, oil on canvas. A modern take on the classic biblical story, featuring three men walking along a dusty road, deep in conversation. The sun sets in the background, casting a warm, orange glow on the scene.
The road to Emmaus (Luke 24:13–35)
The Road to Emmaus, 2021, oil on canvas. A modern take on the classic biblical story, featuring three men walking along a dusty road, deep in conversation. The sun sets in the background, casting a warm, orange glow on the scene.
The road to Emmaus (Luke 24:13–35)
The Road to Emmaus, 2020, acrylic painting. This painting captures the intense emotions of the biblical tale. The work is composed of thick brushstrokes in a dark palette, which conveys the feeling of despair and confusion that the two disciples must have felt after Jesus. It lacks a clear horizon line, symbolizing the uncertain future that the disciples are facing.
The road to Emmaus (Luke 24:13–35)
"Jesus Appears to his Disciples", Willem de Kooning, 1990. Acrylic on Canvas. De Kooning's painting is based on the biblical account of Jesus appearing to his disciples after his resurrection. The artist uses a bright palette and loose brushwork to depict the scene.
Jesus appears to his disciples (Luke 24:36–49)
A Modernist painting in the style of Mark Rothko, depicting a single ray of light coming down from the heavens, transfiguring Jesus into a being of light.
Jesus' ascension (Luke 24:50–52)
"He is Risen", 2021. Mixed media on canvas. This work shows a brightly lit Jesus surrounded by his disciples with expressions of awe and disbelief.
Jesus' ascension (Luke 24:50–52)
"The world," 2020. Mixed media on canvas. A mixed media painting on canvas depicting the world as a globe with different colors and textures representing different cultures and regions
"For God so loved the world" (John 3:16–17)
For the World, 2020, Photography. A collage of many black and white photographs exploring the varied faces and places of the world, connected by a red thread representing love.
"For God so loved the world" (John 3:16–17)
The World That God Loves, 2016, Oil and acrylic on canvas. A densely-layered and textured painting depicting a swirling, radiant world filled with love.
"For God so loved the world" (John 3:16–17)
The World That God Loves, 2016, Oil and acrylic on canvas. A densely-layered and textured painting depicting a swirling, radiant world filled with love.
"For God so loved the world" (John 3:16–17)
The Chosen, 2021. A mixed media painting in the style of Pop Artist Romero Britto depicting a cross with radiant colors, symbolizing the love of God.
"For God so loved the world" (John 3:16–17)
The Chosen, 2021. A mixed media painting in the style of Pop Artist Romero Britto depicting a cross with radiant colors, symbolizing the love of God.
"For God so loved the world" (John 3:16–17)
Living Water, 1994. An acrylic painting of a glowing river bringing life to plants and animals along the riverbank.
"Living water" (John 4:10)
Living Water, 1994. An acrylic painting of a glowing river bringing life to plants and animals along the riverbank.
"Living water" (John 4:10)
Living Water, 1994. An acrylic painting of a glowing river bringing life to plants and animals along the riverbank.
"Living water" (John 4:10)
"Christ and the Woman Caught Cheating" by Ghanaian-British artist Chris Ofili. 1998. Mixed media on linen. From the perspective of the woman caught breaking the law, looking out at her accusers and Jesus.
Jesus and the woman caught in adultery (John 7:53–8:11)
"Betrayal" by Kara Walker (2004), cut paper. A work with Judas, holding a dagger behind his back, drawing close to Jesus to kiss him.
Lazarus emerges from his tomb (John 11:43–44)
"Resurrection" by Paul Gauguin, 1897, oil on canvas. A triumphant and symbolic painting of Jesus emerging from his cave.
Lazarus emerges from his tomb (John 11:43–44)
"Resurrection" by Paul Gauguin, 1897, oil on canvas. A triumphant and symbolic painting of Jesus emerging from his cave.
Lazarus emerges from his tomb (John 11:43–44)
"Pilate" by Paul Cézanne, 1888. A painting with a limited color palette and geometric shapes, featuring a close-up portrait of Pontius Pilate against a blank background as he judges Jesus.
Saul approves of Stephen's killing (Acts 8:1)
Many Brothers, 2019, Acrylic on Canvas. This painting depicts a group of men of different ages and races. The work is meant to represent the idea of being brothers in Christ. The painting is full of love and unity, and the artist encourages viewers to see themselves as part of the group.
"God works for the good of those who love him" (Rom 8:28–29)
Conformed to the image, 2019, photo mosaic. A photo mosaic showing people of different races, genders, and abilities coming together to collectively form the body of Jesus.
"God works for the good of those who love him" (Rom 8:28–29)
Work Together for Good, 2017, installation. An intricate series of interlocking metal and wooden gears of different sizes and colors. The gears cover the whole wall and create a sense of order when viewed as a whole.
"God works for the good of those who love him" (Rom 8:28–29)
The World That God Loves, 2016, Oil and acrylic on canvas. A densely-layered and textured painting depicting a swirling, radiant world filled with love.
"The greatest of these is love" (1Cor 13)
"All Things Are Possible" by Henri Matisse, 1953, oil on canvas. This work features a brightly-colored abstract design composed of interlocking shapes. This work is intended to inspire viewers with the message that anything is possible with God's help.
"I can do all things through God who strengthens me" (Phil 4:13)
Watercolor on Paper.  A delicate and ethereal painting of a woman surrounded by a field of flowers. This piece was inspired the idea that we can do anything if we have faith. The artist used a soft color palette and light brushstrokes to create a sense of peace and hope.
"I can do all things through God who strengthens me" (Phil 4:13)
Watercolor on Paper.  A delicate and ethereal painting of a woman surrounded by a field of flowers. This piece was inspired the idea that we can do anything if we have faith. The artist used a soft color palette and light brushstrokes to create a sense of peace and hope.
"I can do all things through God who strengthens me" (Phil 4:13)
"All Things are Possible" inspired by Domingo Zapata. Oil on Canvas. A brightly-colored and hopeful painting that speaks to the possibility of what we can achieve. It features a kneeling man, surrounded by a swirling vortex of colors and patterns.
"I can do all things through God who strengthens me" (Phil 4:13)
"All Things are Possible" inspired by Domingo Zapata. Oil on Canvas. A brightly-colored and hopeful painting that speaks to the possibility of what we can achieve. It features a kneeling man, surrounded by a swirling vortex of colors and patterns.
"I can do all things through God who strengthens me" (Phil 4:13)
A brutalist sculpture of a massive, complete figure of a man with his arms raised in triumph and praise to God.
"I can do all things through God who strengthens me" (Phil 4:13)
A broken chain, 2018, mixed media sculpture. This sculpture features a broken chain, symbolizing how we can be freed from our limitations and accomplish anything with God's help.
"I can do all things through God who strengthens me" (Phil 4:13)
Faith, 2020, installation. An exploration of faith through the materiality of objects and their shadow. Inspired by Shigeo Fukuda, Japanese, installation artist.
"Faith is the assurance of things hoped for" (Heb 11:1)
Faith, 2020, installation. An exploration of faith through the materiality of objects and their shadow. Inspired by Shigeo Fukuda, Japanese, installation artist.
"Faith is the assurance of things hoped for" (Heb 11:1)
Faith, 2020, installation. An exploration of faith through the materiality of objects and their shadow. Inspired by Shigeo Fukuda, Japanese, installation artist.
"Faith is the assurance of things hoped for" (Heb 11:1)
Hebrews 11:1, 1998, Glass Sculpture. A clear glass sculpture in the shape of a cross. In the center of the cross is a small Bible, open to Hebrews 11:1.
"Faith is the assurance of things hoped for" (Heb 11:1)
Hebrews 11:1, 1998, Glass Sculpture. A clear glass sculpture in the shape of a cross. In the center of the cross is a small Bible, open to Hebrews 11:1.
"Faith is the assurance of things hoped for" (Heb 11:1)
The Ten Minas, Katherina Grosse, 2007, acrylic on canvas. The dynamic painting is composed of layer upon layer of vivid colors and patterns, which come together to create a sense of movement and energy. The central figure is a person surrounded by ten smaller figures. The overall composition conveys a sense of optimism and possibility, reflecting the possibility of doubling one's money.
The throne in heaven (Rev 4)
The Ten Minas, Katherina Grosse, 2007, acrylic on canvas. The dynamic painting is composed of layer upon layer of vivid colors and patterns, which come together to create a sense of movement and energy. The central figure is a person surrounded by ten smaller figures. The overall composition conveys a sense of optimism and possibility, reflecting the possibility of doubling one's money.
The throne in heaven (Rev 4)
"Fire from Heaven" - An abstract painting with bold red and orange tones, reminiscent of fire, to represent fire coming down from heaven and Jesus' rebuke of two of his disciples. At the bottom is a peaceful ancient city in contrasting cool colors. In the style of Clyfford Stil.
Wormwood (Rev 8:10–11)
"Fire from Heaven" - An abstract painting with bold red and orange tones, reminiscent of fire, to represent fire coming down from heaven and Jesus' rebuke of two of his disciples. At the bottom is a peaceful ancient city in contrasting cool colors. In the style of Clyfford Stil.
Opening of the abyss (Rev 9:1–2)
"Fire from Heaven" - An abstract painting with bold red and orange tones, reminiscent of fire, to represent fire coming down from heaven and Jesus' rebuke of two of his disciples. At the bottom is a peaceful ancient city in contrasting cool colors. In the style of Clyfford Stil.
The lake of fire (Rev 20:14)